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Class &Vn°H 
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Fancy Drills and Marches 



Fifty-three New Fancy Drills, Marches. 
Motion Songs, Action Pieces 


For 

Arbor Day, Christmas Day, Memorial 
Day, Closing Day and Patriotic 
Occasions 


EDITED BY 
ALICE M f' KELLOGG 

n 

Author of^Spring and Summer School Celebrations,’' Etc. 



PHILADELPHIA 

The Pehn Publishing Company 

1923 








Copyright 1895 by E. L. Kellogg & Co. 
Copyright 1908 by The Penn Publishing Company 


Copyright 1923 by Herbert S. Kellogg, 
Mrs. R. W. Barrington and E. L. Kellogg 


fKAWSftfirtfcO FROM 

OOi»WGKT OFFICf x 

Aft $ ' 


MAR 1-3 1323 

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Fancy Drills and Marches 


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CONTENTS. 



Dmt^s and Marches : 

Fancy Ribbon March. By Carl Betr.. 

Hatchet Drill for February S2d. By I. A. Storey. 

The Pink Rose Drill. By Eloise Hemphill. 

Christmas-tree Drill. By R. S. Dayton. 

Wand Drill. By Mara L. Pratt. 

Delsarte Children. By M. D. Sterling. 

Free Drill. By Eloise Hemphill . 

Zouave Drill. By the author of “ Preston Papers.”. 

A Scarf Drill. By Clara J. Denton. 

Wreath Drill and March. By I. J. C...-4.. 

Rainbow Drill. By M. D. Sterling. 

Glove Drill. By Clara J. Denton. 

Tambourine Drill. By Eloise Hemphill. 

Finale for a Tambourine Drill. By Jay Bee . 

Ruler Drill. By Lettie Sterling. 

Flag Grouping and Posing. By Carl Betz. 

Flag Drill No. i. By Lillian E. Snow.... 

Flag Drill No. 2. By Eloise Hemphill. 

Muff and Gun Drill. By Jay Bee. 

Cane Drill. By Clara J. Denton. 

The March of the Red, White, and Blue. By M. D. Sterling. 

Sifter Drill. By Frances L. Allison.. 

A Fancy Scarf Drill. By A. Alexander. 

The Fan Fairies. By Ethel Powell Harris... 

A Drill With Rings. By Imogen A. Storey.. 

Christmas Stars. By Lettie Sterling.. 

Motion Songs : 

Gladly May Our Song be Ringing. By Rose Seelye Miller.. 

Up and Down. By Lettie Sterling. 

Sing, Sing, Oh What Shall I Sing? By Jennie Norton. 

We’re Just as Happy. By Rose Seelye Miller. 

Hands are Clasped. By Lettie Sterling . . 

Froebel’s Birthday. By Louise Pollock. 

The Milk Measure Song. By W. Price.... 

Standing Straight Upon Our Feet. By Lettie Sterling. 

A Stormy Day. By Rose Seelye Miller. 

See the Children. By Jennie D. Moore. 

The Holidays. By Louise Pollock.... 

Christmas Stockings. By A. S. Webber. 

Thanksgiving. By Lettie Sterling. 

Marching On. By John Fox...... 

Mction Ptctrq • 

The Little House. By M. D. Sterling. 

Eight White Horses. By Clara J. Denton... 

The Evergreen Day. By M. D. Sterling. 

Flowers and Bees. By Clara J. Denton..... 

Christmas Stories Told with Fingers. By Lettie Sterling.... 

Ten of Them. By Clara J. Denton. 

Physiology in Action. By Nellie B. Brown. 

Nature Song: The Maple and the Pine. 

The Winds... 

The Tree in the Field. 1 . 

The Diminishing Class. 

The Seasons. 

The Gossips............. 


Rag* 


A 

>8 

33 

35 

30 

43 

4<5 

48 

5 * 

55 

57 

5« 

<54 

73 

77 

79 

80 
84 
88 
98 

114 
121 
129 


• 143 

. 144 

• 143 
. 146 

. 147 

. 148 
. 149 

. 149 
. 150 

• 151 

• 152 

• 152 

• 154 

• 155 


156 


157 


158 

162 

162 

164 

164 


168 

171 

U3 


176 


179 

183 
























































I 


PART I. 


jfancp Drills ant> 
/Iftaccbes. 


A Fancy Ribbon-march with 
Grouping and Posing. 


By Carl Betz. 

(The exercise is best suited for a class of sixteen girls, ranging in age* from fe* 
to fifteen years. Plain white dresses are appropriate, although a more cla.lxv.*<. 
costume would add much to the beauty of the figures in the march. Each g'd 
carries a red, white, and blue ribbon (scarf). This may be of calico, cheese-cloth, 
sateen, serge, or silk, according to the means at the disposal of the teacher. The 
ribbons are about twelve feet long and seven inches wide, each stripe being two 
and one half inches in width. 

If the sixteen girls are not of the same height they should be carefully graded 
according to size, and each girl be given a specific number in the rank, thus: 
i 2 3 4 5 6 7 8 9 io it 12 n 14 15 16 

Number one should be the shortest, number sixteen the tallest, girl. 

Next, one half of the class, the odd numbers, is to be arranged on one side of 
the stage, the other half, the even numbers, on the opposite side, thus : 

x 3 5 7 9 11 x 3 *5. 16 14 12 10 8 6 4 2 

Wherever the arrangement is not convenient, the entire class may be arranged 
on one side or in an adjoining room or hall, thus: 

1 3 5 7 9 xx x 3 15 16 14 12 10 8 6 4 2 

The ribbon is doubled, so as to be six feet long, and grasped with the left hand 
at the middle in such a way as to allow two feet or less of ribbon to hang down 
on both sides of the hand. Unless otherwise stated both arms hang naturally at 
the side. The ribbon should not quite touch the floor. If twelve-foot ribbons are 
found inconvenient for girls of about ten years old, they may be made shorter to 
suit. 

For the fancy march any march or quickstep will answer ; for the grouping and 
posing, waltz music; for the last grouping, “ The Star-spangled Banner for 
the closing march, march or quickstep. 

All changes are made at a light tap given by the teacher with a muffled caM-bell 
or with a pencil on a small tile or book.) 


Part First. The Fancy March. 

I. CLASS enter in two flank ranks in the rear of 
the stage from both sides, meeting at E and mark- 

5 



6 FANCY DRILLS AND MARCHES. 

ing time until all sixteen are arranged between A 
and B in one flank rank (Fig. i). 

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6 



i. 


In a school-room having only one entrance, the 
class may enter in one flank rank at A or B, marking 
time between A and B until the next signal is given 
(Fig. 2 ). 




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to 
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During the entire march the movement of the feet 
does not cease, the class marking time between the 
changes. 

II. Face Front. —(Fig. 3.) Odd numbers quar¬ 
ter-turn right, in Fig. 1. Even numbers quarter- 
turn left, in Fig. 1. 


A 

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T 'i 3 . 


III. FORWARD in front rank to front of stage. 
Odd numbers guide right and dress left. Even 
numbers guide left and dress right. 

IV. Triangle.—R ank of odd numbers, eighth- 









A FANCY RIBBON-MARCH WITH GROUPING AND POSING. ? 


wheel backward on No. 15 as pivot; rank of even 
numbers, the same, No. 16 as pivot. All guide 
towards the moving point, and dress towards the 
pivot (Fig. 4). 




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V. Square. —(Simultaneous, Fig. 5.) Rank 1, 3, 
5, 7, quarter-wheel backward, No. 7 pivot; rank 2, 
4, 6, 8, quarter-wheel backward, No. 8 pivot ; rank 
9, 11, 13, 15, and rank 10, 12, 14, 16, mark time. 


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VI. CROSS.—(Simultaneous, Fig. 6.) Rank 1,3, 5, 
7, quarter-wheel left, centre pivot; rank 9, 11,13,15, 





8 


FANCY DRILLS AND MARCHES. 


quarter-wheel left, centre pivot; rank 2, 4, 6, 8, quar 
ter-wheel right, centre pivot; rank 10, 12, 14, 16, 
quarter-wheel right, centre pivot. 

VII. FACING.—(Simultaneous, Fig. 9.) Nos. 2, 4, 
6 , 8, IO, 12, 14, 16, two quarter-turns left, individu¬ 
ally ; Nos. 1. 3, 5, 7, and Nos. 9, 11, 13, 15, mark time. 

9 

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I 


VIII. Cross Revolve, Twice.— (Fig. 8.) All 
guide outward towards moving points and dress 
towards pivots. 



IX- CIRCLE.—(Simultaneous, Fig. 9.) Rank 1, 3, 




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A FANCY RIBBON-MARCH WITH GROUPING AND POSING. 9 


5, 7, and rank 9, 11, 13, 15, eighth-wheel right, centre 
pivot; rank 2, 4, 6, 8, 10, 12, 14, 16, eighth-wheel left, 
centre pivot. All mark time until the circle has 
been perfectly formed (Fig. 10). 

X. Facing.—A ll face to the right (Fig. 11). 



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XI. FORM Fours. —All march forward in circle. 
Nos. I, 3, 2, 4 face front and march in fours to the 
front. The others continue their march in circle 
towards E, where each four in turn face and march 
to the front (Figs. 12 and 13). 


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XII. OPEN Ranks and arrange as shown in Figs. 
19 and 20. (Simultaneous.) Nos. 1, 5, 9, 13 march 

in ^ ^ y ' figure in front of Nos. 3, 7, 11, 15 
(Fig. 19), and arrange as in Fig. 20 Nos. 2,6, 10, 14 


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fancy drills and marches. 


march in / figure in front of Nos. 4, 8 t 

12, 16 (Fig. 14), and arrange as in Fig. 15. 






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A. 



XIII. Halt. —All continue marking time until 
Fig. 20 is perfectly formed, and then halt. 


Part Second. Grouping and Posing. 


(The music changes to a waltz and continues throughout the grouping and 
posing without interruption. Between each two groups a slight pause intervenes. 
In the rosing the arms should never be quite straight, but should always be more 
or less curved.) 

I. All grasp ribbons, giving six feet of length,with 
both hands, drooping it in a graceful curve between 
the hands and in front of the body, allowing about 
one foot of ribbon to hang down straight on the outer 
sides of the hands. The arms are gracefully bent. 

II. ARCH. —(Simultaneous, Fig. 16.) Nos. 1, £, 9, 
13, and Nos. 4, 8, 12, 16 lunge sideways to the left, 
turning trunk slightly to the left and bending head 
gently backward. Left arm in oblique position up¬ 
ward to the left, right arm in oblique position down¬ 
ward to the right. The ribbon droops in a curve 
from left hand to right hand in front of the body; 
Nos. 3, 7, 11, 15, and Nos. 2, 6, 10, 14 the same, 
reversely. 

Diagram gf First File. 


I 


/\ 


/ \ 


a Fancy ribbon-march with grouping and posing, n 


III. All recover to starting position as in I. 

IV. Arch.- —(Simultaneous, Fig. 17.) The same 
posing as in II. Nos. 1, 5, 9, 13, and Nos. 4, 8, 12, 
16 to the right; Nos. 3, 7, n, 15, and Nos. 2, 6, 10, 
14 to the left. 

Diagram of First File. 


< $ tf * 

*7 

V. All recover to first position as in I. Before 
the attitudes on the following groupings are taken, 
the girls first group themselves, walking slowly, in 
steps and time, from their places in the ranks to 
their places in the group. After the posing the 
girls walk in the same manner back again to their 
places in the ranks. 

VI. Grouping in Squares. —(Simultaneous.) 
Nos. I, 3, 5, 7, first square; Nos. 4, 2, 8, 16, second 
square, Nos. 9, 11, 13 15, third square; Nos. 12, 10, 
16, 14, fourth square The members of each square 
face the centre. All lunge inward with inner feet, 
inner hands in oblique position upward, hands meet- 
over centre of square. Outer hands in oblique posi¬ 
tion downward. The ribbons droop diagonally from 
inner to outer hands (Fig. 18). 


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FANCY drills and marches. 


VII. All recover to position I and march back 
into the ranks. 

VIII. Grouping in Fours and Threes. —(Si¬ 
multaneous, Fig. 19.) Nos. 7,8, 11, 12, square in 
centre; Nos. 1, 3, 5 ; 4, 2, 6; 9, 13, 15 ; 10, 14, 16, 
threes at the corners. Threes, same posing and 
position of ribbon as in VI. Square in centre same 
posing as in VI, but reverse position of ribbons, 
outer arms in oblique position upward, inner arms 
in oblique position downward, all ribbons meeting 
in one point over centre of square. 


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IX. All recover to first position, and march back 
into the ranks. 

X. Form Circle. —All form in circle, facing cen¬ 
tre as in Fig. 20, and halt. 




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A FANCY RIBBON-MARCH WITH GROUPING AND POSING. 13 

XI. Nos. 1 to 13 walk singly, but following each 
other as quickly as possible to No. 15, and place 
one end of their ribbons in her right hand, holding 
on to the other end of the ribbons; Nos. 2 to 14 do 
the same, placing one end of their ribbons in the left 
hand of No. 16; Nos. 15 and 16 drop their ribbons 
or fasten them to their waist-band. In walking 
walk back again ; all turn and walk forward, forming 
in semicircle in front of Nos. 15 and 16 (Fig. 21). 



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111 


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XII. Fan. —(Fig. 22.) All in the semicircle kneel 
on right knee, placing right hand holding ribbon 
drooping over head, and left hand on left knee. 
Nos. 15 and 16 raise inner hands holding ribbons 
high over head, both hand and all ribbons meeting 
in one point. 



XIII. Facing. —All rise, facing outward, even 
numbers to the right, odd numbers to the left, and 
march in circle around and in back of Nos. 15 and 
16. Nos. 15 and 16 hold the ribbons overhead. AU 


*4 


FANCY DRILLS AND MARCHES. 


arrange in semicircle behind Nos. 15 and 16, and 
face front (Fig. 23). 


111 . 



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XIV. Fan. —All in the semicircle raise their rib- 
bons high over head with right hands. No. 15 
kneels on left knee; No. 16 kneels on right knee; 
No. 15 holds ribbons in left hand ; No. 16 in right 
hand. All ribbons meet in a point, and are held 
low between and in front of Nos. 15 and 16 (Fig. 24). 


1* 





XV. Form Circle. —Nos. 15 and 16 rise, let go 
of all ribbons and pick up their own ; No. 15 takes 
her place in the semicircle; No. 16 stands in the 
middle of the stage; all the others draw in their 
ribbons, fold them double, and grasp them with 
both hands as in I. Simultaneously with all the 
above movements those in the semicircle move for¬ 
ward at both ends, and close in a circle facing in- 



A FANCY RIBBON-MARCH WITH GROUPING AND POSING. I* 


ward, around No. 16 as centre. The ranks of the 
circle remain slightly open (Fig. 25). 



XVI. All place right hand in oblique position up¬ 
ward, left arm down, all hands and ribbons meeting 
in a point over the head of No. 16 (Fig. 26). 

XVII. All turn outward to the left, lunge for¬ 
ward with the left hand, place left hands in oblique 
position upward, right hands in oblique position 
backward, and bend heads slightly backward. The 
ribbons droop diagonally downward and backward 
at the right side of the body, from the raised left 
hand to the lowered right. No. 16 remains station- 
ary, facing 1/ont, with her ribbon grasped in her right 
hand, ready to swing it over her head (Fig. 27). 



XVIII. ALL in the circle remain in the lunge 
position, but change the position of the arms and 




FANCY DRILLS AND MARCHES. 


16 


the ribbon, drooping the right hand over the right 
shoulder, and lower the left hand into oblique posi¬ 
tion downward, the ribbons drooping diagonally 
downward towards the floor. No. 16 waves her rib¬ 
bon in circle over. The music changes to “ The Star- 
spangled Banner.” This group is held a little longer 
than the others. 

XIX. All recover to first position, both hands at 
sides grasping the ribbon, twice doubled, as in Part 
First, in the left hand; No. 16 takes her place in the 
circle. The music changes to a march or quickstep. 

XX. MARK time and close circle by moving for¬ 
ward. 

XXI. Wheel backward from Nos. i and 2, and 
on Nos. 15 and 16 as pivots, into front rank (Fig. 28). 



XXII. Form Flank rank, odd numbers facing 
right, even numbers facing left. If only one exit, 
all face either right or left. 

XXIII. Exit. —Forward to both sides of and off 
the stage. 


Hatchet Drill for February 2 2d. 

By I. A. Storey. 

This drill requires from seventeen to twenty-five 
children to make a full company and be most effec¬ 
tive. The younger the children the better, so long 



HATCHET DRILL FOR FEBRUARY 22c*. 


17 


as they are capable of doing the drill without too 
many mistakes. 

The odd child should be selected with care to 
assume the character of George Washington ; he 
should be a bright boy, for there will be much de¬ 
pending upon him. 

The costumes should be as near as possible those 
of the colonial times for both the boys and the 
girls, and each must be armed with the weapon 
which “ cut the cherry-tree.” 

The handles of the hatchets should be decorated 
with ribbons of red, white, and blue. 

The floor or stage necessary for this drill should 
be amply large, to allow for the plan as in (a) and a 
















18 FANCY DRILLS AND MARCHES. 

margin besides. A stage would be preferable if 
large enough. 

This track should be about a foot wide, and each 
line, quite heavy, should be laid off as indicated 
in (a). 

Children should enter from the rear by twos, the 
boys making a low bow, the girls a courtesy, march¬ 
ing straight up the centre, as indicated in ( b ) by the 
arrows. Washington enters in front of the rest, and 
after his salute marches a little past the centre, tak¬ 
ing his position a little on the oblique, as shown 
in (b). 

V) 






When the leaders arrive at the centre, Washington 
gives the command, “Company halt! " After this 
command has been executed, he gives a second 
command, “Leaders left and right— face! " then 
a third command, “Forward— march!" Number 


















HATCHET DRILL FOR FEBRUARY 2 2d. 


t9 


three and four ditto following down the line, a,a 
shown in (b) by arrows. 

(f) 



When they reach the centre of the sides, which 
must be marked as shown in ( a) f at a command from 
Washington, “ Face—rear ! ” they march to the 
corners, reaching there at the same time, each turn¬ 
ing a square corner where number one and two did. 
When they reach the corners Washington commands, 
“ Oblique— Face! ” They face and march on 
oblique lines shown in ( c ). When the last two reach 
the corners (the first two remaining at centre and 
marking time) and face, Washington gives command, 
“Company Halt!” then “Charge!” as in Fig. I. 
They charge with foot toward centre, diagonally, 















16 


FANCY DRILLS AND MARCHES. 


throwing the hatchet over the shoulder at the same 
time. 



At command, “ Two! ” from Washington they 
fall on their knees, striking the floor with their 
hatchets, as in Fig. 2. 




















HATCHET DRILL FOR FEBRUARY a 2 d. 


At command, “ Three ! ” they assume position as 
in Fig. i. 

At command, “ Four ! ” they shoulder hatchets as 
they have in previous marching, as shown in Fig. 3. 



3 


Repeat this charging with the opposite foot 5 
Washington giving commands, “Five!” “Six!” 
“ Seven ! ” “ Eight! ” eight being of course like 
Fig. 4. Washington then commands, “ Company 
forward— March ! ” 

When numbers one and two reach centre, as shown 
in ( c ) by foot-marks Washington gives command, 
“ Company halt! ” They halt and cross hatchets 
above heads, as shown in Fig. 4. The rest by twos 
march under the hatchets of numbers one and two. 

After they have passed under they cross their 
hatchets above in same way, at the same time be¬ 
ginning this fancy step: 

Advance left foot straight forward, as shown in 
Fig. 4 0 ), and touch it lightly to the floor. (1 count) 

Advance the left foot a little more in same direc« 










£2 


FANCY DRILLS AND MARCHES. 


tion, as shown in Fig. 4 ip), and place the weight on 
it. (2) 



Advance the right foot in the same way; be sure 
not to advance the foot too much the first time, since 
it has to be advanced again. (3) 

Advance a little more and place weight on it. (4) 
Continue this until all have passed under the 
hatchets of numbers one and two, Washington then 
gives the command, “ Company halt / ” 

Numbers one and two. who are now at the rear of 
the line, march through under the hatchets, lowering 
theirs a little in order to pass under, then raising 
them again. 

When numbers one and two reach the front of 
the stage, as shown by foot-marks in ( c), they resume 







THE PINK ROSE DRILL. 


2 3 


hatchet position, as shown in Fig. 3, making a 
low bow and courtesy. Then cross each other, as 
shown in ( c)> and, marching single file on opposite 
sides of hall or stage, turning the corners very square, 
and keeping opposite each other, they meet at rear 
and march out by twos, followed by Washington. 

The hatchets used for this drill should be made 
of tin, but wood covered with silver-paper would 
answer. 


The Pink Rose Drill. 

By Eloise Hemphill. 

(The dresses should be of some soft white material, trimmed elaborately with 
pink roses and ribbon. Each pupil should have a wreath of roses, which she 
holds in her right hand when marching. The wreath is made of strong wire or 
wood, fastened securely where the ends are joined, then covered with roses, as 
shown below. The spaces not covered with roses are about two inches, and are 
left that the wreath may be held in the hand without crushing the roses; these 
spaces should be neatly wrapped with pink ribbon and finished off with a bow and 
streamers. The roses should be made of tissue-paper. 

The class should be arranged according to size, with smallest in front; begin¬ 
ning with No. 1, every other one should enter from left rear, the others from right 
rear. Nos. i and 2, meeting at A, march down the centre to the front, and No. 1 
line turns to the left, No. 2 to the right, each pupil taking her stand according to 
number, which should correspond with diagram. The last five couples do not 
separate when marching down the centre. Impress it upon each pupil to remem¬ 
ber her number throughout the drill. At a given signal lines 1 and 3, 21 and 22, 2 
and 4 face each other, standing with toes on the line ; at signal two , lines 2, 22, 
and 3 change wreath from right to left hand ; at signal three, lines 1, 21, and 4 
extend wreath to partners, who take hold of the wreath with right hand ; at the 
same time all should place the right toe on dotted line so as to touch the toe of 
partner. Arms extended should be perfectly straight, which necessitates the 
body to bend backward slightly, with left knee bent, while right is straight. By 
practice all of these positions can be quickly taken. The musician should here 
oegin to play some slow march or waltz.) 

Position 1.—The wreaths, which are perpendicular 
to the floor, should be turned towards the front on 
I, 3, back to perpendicular position on 2, 4; this is 
done by the couples simply twisting the arm from 
the elbow down. On 5, all step back to places, with 
arms at the side, and remain so on 6. 

Position 2.—On 7, the lines 2, 22, and 3 extend 
their wreaths, or left arm to partner, who also ex¬ 
tends her left arm and takes hold of wreath ; left 
toes touching on dotted line; position of body and 
knees the same as above, except right is bent and 
left is straight; remain in this position on 8, On 1 



24 


FANCY DRILLS AND MARCHES. 


and 3 twist wreaths towards the rear: bach to per¬ 
pendicular position 2,41 on 5, 6, all step back to 



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places with arms at the side ; as they step back, lines 
2, 22, and 3 again change their wreaths to right 
hand, as they were in marching. 

Position 3.—On 7, 8, all extend both arms and take 
hold of partner’s wreath, at the same time putting 
right toes on dotted line, as directed in Position 1. 
Twist the wreaths inward on 1, 3, back in perpen¬ 
dicular position on 2, 4. On 5, 6, all back to places, 
standing as before directed. 

Position 4.—On 7,8, all extend arms as in Position 3; 
left toes on the dotted line. Twist wreaths inward 
again. On 5, 6, lines I, 21, and 4 bring right feet 
up to left, with toes touching dotted line; lines 3, 

















THE PINK ROSE DRILL. 


2$ 

22, and 2 bring left foot back to right; all still hav. 
ing hold of wreaths. 

Position 5.—On 7, 8, all should throw the arms 
towards the front over their heads, bringing the 
couples back to back, with wreaths on shoulders. 

On 1, 3, 5, 7, thrust both arms straight down at 
the side; back to shoulder on 2, 4, 6, 8. 

Position 6.—On 1, 3, 5, 7, thrust arms straight out* 
at side; back to shoulder on 2, 4, 6, 8. 

Position 7.- -On 1, 3, 5, 7, thrust arms up, back on 

4 > 

Position 8.- -Same as directed in Position 7. 

Position 9. —With wreath still on shoulder, arms 
down at the side on 1, on shoulder at 2, out at the 
side on 3, back to shoulder on 4, up on 5, shoulder 
on 6, out at the side on 7, shoulder on 8. Repeat. 

Position IO.—On the last 8, drop arms at the side 
instead of on shoulder; keep arms at the side daring 
the following 16 counts. On 1, 3, all put the right 
foot diagonally forward, back on 2,4; same with 
left foot on 5,6, and 7, 8. Alternate right, left, etc., 
through 8 counts; right foot out on 1 and 5, back on 
2 and 6; left foot out on 3 and 7, back on 4 and 8. 

Position 11.—With backs still together, the couples 
step to the side (or front of stage) on 1, 3, 5, 7, back 
on 2, 4, 6, 8; lines 1, 21, and 4 using the right foot, 
and lines 3, 22, 2, using the left. Same movement 
with other foot to the other side (rear of stage) 
through 8 counts. As the step is taken toward the 
side each time, the arm corresponding to the foot 
used should be thrust upward on 1, 3, 5, 7, back to 1 
side on 2, 4, 6, 8. 

Position 12.—On 1, of next measure, arms toward 
rear of stage should be thrown over heads; and 
every one, holding wreath in right hand, should step 
back to position as at the beginning of the drill. 

MARCH. 

At a given signal lines 1 and 3, 21 and 22, 4 and 
2, raise their right arms so w to form an arch hv 


25 


FANCY DRILLS AND MARCHES. 


having the wreaths touch. Stand a few seconds in 
this position, as the three arches are very effective. 

At signal 2, Nos. 21 and 22 drop right arms at the 
side and march to the rear of stage wider the centre 
arch; the leaders are followed by 23 and 24, etc.; 
at A the lines separate, No. 21 turning to the right 
and marching to front of stage under the right-hand 
arch; No. 22, turning to left, marches to front of 
stage under left-hand arch. As Nos. 21 and 22 
meet at B they form an arch, under which 23 and 
24 pass and form an arch; each couple as it passes 
under the last arch forms another, until the centre 
arch is complete. When the three arches are formed 
again Nos. 1 and 3 and 2 and 4 drop their right 
arms at the side, and Nos. 1 and 2 lead their lines to 
rear of stage under their respective arches. No. 1 
is followed by 3 ; 3 by 5, 5 by 7, etc. No. 2 is fol¬ 
lowed by 4; 4 by 6; 6 by 8, etc. Nos. 1 and 2 
meet at A and march with their lines side by side 
down to front under centre arch; at B the lines 
separate, No. 1 going to the left and No. 2 to the 
right. Instead of stopping at their places, Nos. 1 
and 2 lead their lines off the stage. As the last 
couple, 19 and 20, turn to the left and right, all in 
the centre arch drop their arms at the side, face the 
front, and follow 21 and 22, who fall in place behind 
19 and 20. 


Christmas-tree Drill. 

By R. S. Dayton. 

(An even number of girls and boys may be taugh* this simple drill. Each one 
must be provided with a small branch of evergreen. The number to take part 
will vary with the space necessary to perform the different movements. 

Pupils march in by twos to lively music from the piano. (The “ High-school 
Cadet ” is a good selection for marking the time.) A fancy march is executed, 
and all stand in a row, with enough space between to keep the branches from in¬ 
terfering during the movements. An older pupil may give the orders in place of 
the teacher if desired.) 

Carry arms l Hold the branch vertically in right 
hand, with top downward. 



CHRISTMAS-TREE DRILL. 


2* 

Present arms! Grasp branch, top downward, 
with both hands, bring in front of centre of body, 
with the other end in front of face. 

Carry arms ! (Same as first command.) 

Order arms! Grasp branch with right hand, let 
go with left, lower branch to floor. 

Carry arms ! 

Charge! Place left foot slightly in advance ol 
right, leaning slightly forward. Raise branch with 
right hand, then grasp with left. Keep elbow 
against body, and keep end of branch on level with 
shoulder. 

Carry arms ! 

Port arms / Hold branch diagonally across body. 
Left hand above right, and resting against left 
shoulder. 

Secure arms ! Advance branch a little, grasping 
with left hand, then with right, turn the end down¬ 
ward and rest the top of branch under right arm. 
Drop left arm. 

Carry arms ! 

Load. Left foot slightly forward, knee bent. 
Hold branch with left hand, turning end downward, 
top of branch under right arm. Place right hand a 
few inches below top of branch, then grasp the end 
again. 

Ready . Raise the end to level of chin. 

Aim. Hold branch with both hands, supporting 
end against right shoulder. Rest head upon branch 
and close left eye. 

Fire! Slip left hand down the branch and ex¬ 
claim “ Bang!” 

(The aiming and firing may be repeated kneeling 
if desired.) 

Carry arms ! 

Inspection arms! Toss branch with right hand 
upward, opposite centre of body. Grasp with left 
hand. Hold in front of eyes. 

Carry arms and march off stage. 


FANCY DRILLS AND MARCHES. 


a8 


Wand Drill. 

By Mara L. Pratt. 

Children march in, take their positions on floor, 
vands in position of Fig. I. 



At signal One ! from the piano place left hand as 
In Fig. 2. 

At signal Two! drop wand to position of Fig. 3. 
At signal Three ! turn right hand. (Fig. 4.) 

At signal Four ! turn left hand. (Fig. 5.) 

(Note. —Let there be a generous pause between signals.) 

I. Counting one and, two and, three and, four 
and, five and, six and, seven and, eight halt , raise 
and lower the wands. (Figs. 5 and 6.) Raise on the 
































3° 


fancy drills and marches. 


cou?its } lower on the ands: and after eight , hold the 
wand in place on halt, one beat of time. 

2. From the position of halt (Fig. 6) raise and 
lower wands—one and, two and, three and, four 
and, five and, six and, seven and, eight halt. (Figs. 6 
and 7.) Raise on counts , lower on ands; and after 
eight hold the wand in place on halt one beat of 
time. 



3. Now from Fig. 7, lower and raise wands, to 
shoulders (Fig. 8), up (Fig. 7), chest (Fig. 6), up 
again (Fig. 7), shoulders (Fig. 8) up (Fig. 7), chest 
(Fig. 6), etc., counting as before one and, two and, 
three and, etc. The wand will be up on the ands y 
on shoulders or chests, alternating on the numbers. 

4. Drop (Fig. 5) and, rest and. On drop , drop 
to Fig. 5. Remain in that position through and 
rest and (three beats). 










WAND DRILL. 


3 1 


5. Plunge to tableau of Fig. 9 (right side). Re¬ 
main in that position counting : Plunge and, two 
and, three and, four and, five and, six and, seven 
and, eight and. 



6. Drop (Fig. 5) and, rest and. On drop , drop to 
Fig. 5, remain in that position through and rest and 
(three beats of time). 

7. Repeat plunge this time on left side . 

8. Drop (Fig. 5) and, rest and. On drop> drop to 
Fig. 5. Remain in that position through and rest 
and (three beats of time). 

Class is nowleft in the position from which the 
drill commenced. Now go through the same move¬ 
ments exactly, substituting second tableau (Fig. 10) 
for the before-used tableau of Fig. g. Then “ drop 
and rest and ” and the class is ready again to begin. 











32 


FANCY drills and marches. 


Repeat again same movements, using this time 
third tableau of Fig. II. Then “ drop and , rest and," 
and class is again in its first position, Fig. 5. (Other 
tableaux or poses may be * added if desired to 
lengthen the drill.) 



Children are left in position of Fig. 5. 

9. Children standing in position of Fig. 5. It 
makes a pretty break and gives the children a rest, 
to have here a song. “ The Fisher Maiden ” is sug¬ 
gested as a pleasant song for boys’ voices. 

10. Repeat entire drill from 1 to 9. 

11. Music stops. Then a signal from the piano. 
One! and wands are placed in position of Fig. 2. 

Signal Two ! and the left hand drops to march¬ 
ing position (Fig. 1). 

Music-school marches from the floor. 


(Note. —Let any teacher who wishes to learn this drill, study it out wmnd in 
hand. We recommend for music the “Stephanie Gavotte. ) 



delsarte children. 


•*e 


i,a 


Delsarte Children. 

By M. D. Sterling. 

(Any number may take part in this exercise, all girls or all boys, or of boys and 
girls in equal proportions. For exhibition purposes, not more than eight or ten 
children should be selected, however, as with a small number it is easier to secure 
the exact uniformity which is desirable in a drill of this kind. If the boys are 
dressed in Lord Fauntleroy style, and the girls in white Mother Hubbard gowns 
with wide-rimmed garden hats tied under chin, it will, of course, add to the effect, 
though a special costume is not absolutely necessary. If the little folks can be in¬ 
duced to enter into the spirit of the movements, giving due expression to each, 
that is the main point. At a prearranged signal, one pose is succeeded by another 
smoothly and easily as possible, avoiding angular, stiff, or jerky motions. Signals 
for changes should be given by the instructor, who takes her place where a nod or 
wave of the hand can be seen by her pupils without its being observed by the 
audience. The objects aimed at are gracefulness, harmony, correct expression. 
To cultivate these the exercise may be used as a daily drill by all the school, with 
such additions or changes as are appropriate to the time and place. “ Old Folks 
st Home,” or some similar melody, is softly played throughout the exercise. The 
children being arranged in line, the following are the thoughts to be expressed.) 

1. We ARE SHY.— For this, each head droops on 
chest, eyes are cast down, each forefinger of right 
hand is held to right corner of mouth, knuckles out¬ 
ward, fingers bent inward. 

2. We ARE SORRY. —Corners of mouth droop in 
a grieved expression, knuckles of hands are held to 
eyes. 

3. We ARE PLEASED.- —One step forward oblique¬ 
ly to right, arms outstretched, slanting upward, as 
if about to receive something. The face smiling. 

4. We ARE COLD. —For this, bring arms together 
across chest, shoulders drawn up in the effort to 
keep warm, body shivering, the mouth puckered into 
a whistle, brows knit together. 

5. We ARE HOT. —Make a motion as if fanning 
vigorously with the right hand, while the left is em¬ 
ployed in mopping perspiration from brow, face, and 
neck. 

6. We ARE LISTENING. —Bend body sidewise to 
right, holding hand to ear as if to catch some sound. 
The face wears an intent expression. 

7. We ARE CALLING. —Throw head slightly back ; 
place a hand each side of mouth, and part lips as if 


34 


FANCY DRILLS AND MARCHES. 


shouting “hello ” to some one at a distance. Pac<.- 
obliquely left. 

8 . We are gossiping. —In each couple the chib 
dren turn toward each other. One, with emphatic 
gestures of forefinger and nods of head, appears to 
be relating a piece of news to which the partner lis¬ 
tens attentively, with gestures of surprise, throwing 
out hands, lifting eyebrows, etc., as the imaginary 
narrative proceeds. 

9. We ARE THINKING. —Support the right elbow 
upon the left hand, while the right cheek rests 
against the clenched right hand. Drop eyes to 
ground and look very grave. 

10. We are affectionate. —All in line lay arms 
over neighbor’s shoulders, while faces beam with 
smiles. 

11. We are looking for somebody. —Lean 
forward slightly to right, with right hand shading 
eyes, and face eager, intent. 

12. We are pleasantly surprised. —Step with 
right foot obliquely backward, at the same time 
clasping both hands together. The face must ex¬ 
press joy. 

13. WE ARE TELLING SECRETS. —The one at right 
of line appears to tell his neighbor something; she 
divulges it to the next, and so on until the end of 
the line is reached ; immediately after each has told 
the secret, the hand is clapped over mouth, and then 
the forefinger is held over closed lips; after the se¬ 
cret has gone from one end of line to the other all 
the children will be standing erect with forefinger 
pressed on lips, side of hand outward, fingers slightly 
bent, face grave. 

14. WE are having FUN.— Partners taking each 
other’s hands dance forward, backward, and around, 
smiling and gesticulating. 

15. We are tired. —Using the right arm bent at 
elbow for a pillow, lay the head thereon, face out¬ 
ward, and close the eyes as if asleep. 

16 WE ARE Polite.—C ouples shake hands wkh 


FREE DRILL. 


35 


low bows and courtesies. Then, bow or courtesy to 
audience, front, right, left. 

17. We bid YOU GOOD-BYE. —Kiss palms and 
blow kisses to audience, front, right, left. [Exeunt .] 


Free Drill. 


By Eloise Hemphill. 

The word free, as applied to this drill, means 
movements in which the pupils exercise, each by 

himself, without apparatus. 
While free exercises are iess 
valuable than exercises with 
apparatus, they are neverthe¬ 
less so convenient and sus¬ 
ceptible of immediate use in 
the school-room, that they 
will always enjoy a certain 
popularity. This free drill 
should be taught with accu¬ 
racy ; for example, if the 
teacher command a thrust of 
the arm upward, let it be ex- 

actlv vertical. 

* 

The very first drill to be 
given, is the exercise of the 
neck. For these movements 
the music should be played 
sloivly; if no music is used, 
count slowly. 

No. 1. Standing, as Fig. 1 
indicates, with heels together; 
Drawn by Sue Clarkson, toes out; knees joined ; body 
12 years. erect ; shoulders back ; and 

hands on hips, with thumbs in front, fingers meeting 
in the back; bow the head forward on I, 3, 5, 7, and 
back to erect position on 2, 4, 6, 8. 

No. 2. Throw the head back (being careful to 








3^ 


FANCY DRILLS AND MARCHES. 


move only the neck) on i, 3, 4, 7; back to erect 
position on 2, 4, 6, 8. 

No. 3. Alternate, front, back; front, back, through 
16 counts, down on 1 ; erect on 2 ; back on 3; erect 
on 4, etc. 

No. 4. Turn the face, and only the face , toward 
the right on I, 3, 5, 7 ; back to the front, on 2, 4, 6, 8. 

No. 5. Same as No. 4, only the face is turned 
toward the left , instead of the right. 

No. 6. Alternate. Turn to the right, on I ; 
front, on 2; left, on 3; front, on 4, etc., through 16 
counts. 

After the neck come the shoulders. Music a lit¬ 
tle faster. 

For this exercise the position is the same as shown 
in Fig. 1., except that the hands are dropped from 
the hips, down at the side. 

No. 1.—Move the right shoulder up on I, 3, 5, 7; 
and down on 2, 4, 6, 8. 

No. 2.—Same movements with the left shoulder. 

No. 3.—Alternate, first the right, then the left, 
shoulder through 16 counts; raising the right shoul¬ 
der on 1, lowering it on 2; raising the left on 3, 
lowering it on 4, etc. 

No. 4.—With right arm extended to the right, 
perfectly straight, elbow stiff, make a circular move¬ 
ment, as if drawing an immense circle on some sur¬ 
face at arms’ length from the body; continue this 
movement through 16 counts. 

No. 5.—Same circular movement with left arm ; 
16 counts. ; 

No. 6.—Make circular movements with both arms 
at the same time, through 16 counts. 

These circles are made from back, down, front, up. 

No. 7.—Now, with the right arm make a circle in 
front , by carrying the arm to the left, down, right, 
up; through 16 counts. 

No. 8.—Same movement across the front with 
left arm passing to the right, down, left, up ; through 
16 counts. 


FREE DRILL. 


37 


No. 9.—Move both arms at once; through 16 
counts. 

This last movement may seem a little difficult at 
first, but by a little practice will prove to be very 
simple and pretty ; resembling a windmill. 

After the shoulder comes the arm exercise 
Music faster. 

No. I.—Standing position, the same as before. 
Both fists resting on the chest and arms close to 
the body, so that elbows will very nearly touch the 
waist. 

Thrust both arms, with much force, straight down 
in front (with palms of hands towards the front), on 
I, 3, 5,7; and back to chest on 2, 4, 6, 8. 

No. 2.—Position the same as in No. 1 ; thrust the 
arms out at the side (in a line with shoulders) on 1, 
3, 5, 7; and back to chest on 2, 4, 6, 8. 

No. 3.—Arms thrust upward on 1, 3, 5, 7; on 
chest, on 2, 4, 6, 8. 

No. 4.—Exactly the same movement as in No. 2. 

No. 5.—Arms thrust down in front on 1, on chest 
at 2 ; out at side on 3 ; on chest at 4; up on 5 ; on 
chest at 6; out at side on 7; on chest at 8. Re¬ 
peat. On the last 7, drop the arms at the side. 

No. 6.—On 1, 3, 5, 7, thrust the arms up over 
head and clap hands; on 2, 4, 6, 8, arms down be¬ 
hind so as to clap hands together. 

After the arms come the wrists. Music, very fast. 

No. 1. With the upper part of arms resting 
against the body, elbows on waist line, and forearm 
in an upward oblique position, shake the right hand 
(just from the wrist) vigorously up and down, letting 
the fingers be perfectly limp; keep this up through 
16 counts. 

No. 2. Shake the left hand in the same way. 

No. 3. Shake both hands through 32 counts. 

Care should be taken to move only the wrist, not 
the arm. 

Finger exercise. Arms down at the side, palms 
of hands in front, hands closed. 


3« FANCY DRILLS AND MARCHES. 

No. i. Open the right hand on I, 3, 5 > 7 i an< ^ 
close tightly on 2, 4, 6, 8. 

No. 2. Same with left hand. 

No. 3. Alternate; right, open on 1, close on 2; 
left, open on 3, close on 4, etc., through 8 counts. 

No. 4. Exercise both hands at the same time; 
through 8 counts. 

No. 5. Arms extended at the side, in a straight 
line with shoulders ; exercise the fingers in the same 
order as directed when arms were at the side. 

No. 6. Arms now straight up over head, exercise 
the fingers as before. 

No. 7. Arms out in front, palm of hands down. 

No. 8. With arms down at the side open the 
hands on 1, shut hands on 2 ; arms out at the side, 
open and shut hands on 3, 4; on 5, 6, open and shut 
hands with arms over head ; on 7, 8, open and shut 
hands with arms out in front. Repeat. 

For trmik exercise the music should be slower; 
standing position the same as shown in the figure. 

No. 1. Bend the body forward on 1. 3, 5, 7; 
erect position on 2, 4, 6, 8 ; keep the knees stiff. 

No. 2. Bend the body back on 1, 3, 5, 7 ; erect 
position on 2, 4, 6, 8. 

No. 3. Alternate; forward on 1, erect on 2; 
back on 3, erect on 4, through 16 counts. 

Hip, thigh, and knee exercise. Position the same 
as shown in the figure. Music slow. 

No. 1. Bend the right knee, and raise it as high 
up in front as possible on 1, 3, 5,7; foot stamping 
the floor on 2, 4, 6. 8. 

No. 2. Same with left. 

No, 3. Alternate, through 8 counts. 

No. 4. With feet firmly planted on the floor, 
bend both knees by stooping as if going to sit on 
a very low scat. Stoop down on 1, 3, 5, 7; stand 
erect on 2, 4, 6, 8. 

The foot exercise is one of the most important of 
all. For curing a “ pigeon-toed ” person there is 
nothing better than a daily use of this exercise. 


ZOUAVE DRILL. 


3$ 


Standing position, same as shown in the figure. 

Music a little faster than for the preceding exer¬ 
cise. 

No. i. Raise the right toe as high as possible 
off the floor on i, 3, 5, 7; on the floor with slight 
emphasis on 2, 4, 6, 8. 

Care should be taken to keep the heels firmly 
planted on the floor, and touching each other. 

No. 2. Left foot exercised in the same way as 
the right. 

No. 3. Alternate, through 8 counts. 

No. 4. Raise both toes by throwing the weight 
of body on the heels; through 8 counts. 

No. 5. Raise the right heel as directed to raise 
the toe in No. 1. 

No. 6. Raise the left heel . 

No. 7. Alternate, through 8 counts. 

No. 8. Raise both heels, by throwing the weight 
of the body on the toes on 1, 3, 5, 7; heels striking 
the floor on 2, 4, 6, 8. 

No. 9. Keeping heels close together, turn the 
right toe as far as possible to the right on 1, 3, 5, 7; 
back to the front on 2, 4, 6, 8. 

No. 10. Same with left foot. 

No. 11. By turning on the heels, twist both toes 
to the right on 1 ; front on 2 ; both to the left on 3 ; 
front on 4, etc.; through 16 counts. 

12. Spread the toes as far apart as possible on 1 ; 
both to the front on 2; and so on through 16 
counts. Keep the heels close together. 


Zouave Drill. 

(Arranged by the author of “ Preston Papers.") 

For a company of twenty-five boys or any odd number—one to act as captain. 
Band composed of such instruments and “make-believes” as are most readily 
obtainable—drum, fife, mouth-organ, bones, cymbals, etc., with piano or organ 
accompaniment. 

COSTUMES. 

Zouaves .—Bright red pants (Arab style) and caps; blue sashes and jackets; 
leglets of leather-colored cambric ; light calico shirt-waists under jackets. 

Captain , same zouaves with addition of gilt braid (or paper) on edge, sleeves. 



FANCY DRILLS AND MARCHES. 


40 


and shoulder of coat and across the front in graded stripes; white gloves ; gilt 
band on cap. For guns, broom-sticks, cut to required length, may be used. Car¬ 
tridge-boxes may be of pasteboard, covered with cambric. 

Band .—Any fancy costume that will blend the national colors—for instance, 
“soldier,” blue pants with red braid down outside seam; navy blue cap and 
jacket ; white gloves. 

Drum Major .—Gorgeous as possible—to imitate the real article. 

Girls .—White cheese-cloth dresses, all made in same style—any simple, old- 
fashioned cut ; red slippers and stockings—any ordinary slippers can be covered 
with red cloth ; blue cheese-cloth sashes. Carry small flags. (The red and blue 
must all be of same shades.) 


DEFINITIONS. 

1 

I. Positio?i. Heels on same line; feet turned out 
about equally and forming an angle of about fifty 

degrees; knees straight; body 
erect; shoulders square; arms 
hanging easily; head to front. 

2. Rest. Silence not required, 
nor fixed position of any part of 
body except left heel, which must 
be kept in place. 

3. Attention. Zouave takes 
position, remains motionless, and 
fixes attention on the captain. 

4. Eyes Right. Turn the head 
slowly so as to bring the inner 
corner of the left eye in line with 
coat buttons. Left is reverse. 

5. Eyes Front. Turn head so 
that nose is in line with buttons. 

6 . Face Right , Left y or Front . 
Same as 4 and 5. 

7. Salute. Right hand raised, 
palm down, arm extended and 
horizontal; bring hand slowly to 
lower edge of cap, turn head a 

little to left, looking toward person to be saluted ; 
bring hand and arm back to position slowly and 
gracefully, and head to front. 

8. Parade Rest. Carry right foot slightly to rear, 
and bend left knee; clasp gun lightly with both 
hands in front of centre of body. 

9. Mark Time. Make a show of marching, with¬ 
out advancing. 









ZOUAVE DRILL. 


41 


10. Forward. Throw the weight of the body 
upon the right leg, without bending the other knee. 

11. March. Begin with left foot, carrying each 
alternately to a stated distance forward, without 
crossing or hitting the legs. 

12. Halt. Stop instantly, feet side by side. 

13. Change Step. The hollow of the right foot is 
placed against the heel of the left, the zouave then 
stepping with the left. (Change on right foot is 
similar.) 

14. Back Step. Separate. Carry left foot straight 
to rear; half the company stepping back. 



! 15. Present Amis. Carry with right hand in front 

of centre of body; grasp with left hand six inches 
above right. 

16. Support Arms. Pass from right hand to left 
arm, which bends at elbow, holding stick vertical 
and close to body; left arm from elbow crosses 
stomach horizontally. 

17. Order Arms. Grasp with left hand, let go 
with right; lower to ground at right side regrasping, 
with right hand, dropping left arm at side. 

18. Carry Arms. Raise vertically with right, at 





42 


FANCY DRILLS AND MARCHES. 


same time grasping with left above right; carry in 
front of centre of body—then resume with the right 
hand, dropping left hand by side. 

19. Charge Bayonet. Bend left knee slightly; 
drop stick into left hand ; elbow bent; right hand 
grasping stick firmly, resting on hip; body slightly 
forward ; left foot advanced, stick pointing forward. 

20. Shoulder Arms. Raise vertically with right 
hand ; place it against front of shoulder with inclina¬ 
tion to left; rest it against back of head ; left hand 
by side. 

21. Arms Port. Carry diagonally across front of 
body from right hip to left shoulder; hold firmly 
with both hands. 

22. Load. Bend left knee slightly; drop stick 
into left hand, elbow against body; eyes toward 
motions; take cartridge from box in rear, holding 
firmly. 

23. Ready. Raise as in charge. 

24. Aim. Bring to chin with both hands lightly, 
right near chin, left several inches ahead ; body ea¬ 
sily erect; head brought over so that eyes follow 
stick. 

25. Fire. Without lowering or turning head or 
moving stick, yell bang ! 

(The entire manual of arms would be too long for some of the youngest pupils 
—but each teacher will select the portions adapted to her own school, and by 
omitting or repeating adjust the length of the drill to her own school ; and so of 
the line of march—if the platform is small, omit the fourth and fifth turns ; but in 
all eventSj drill, drill , drill, DRILL, until the mechanical technique is instanta¬ 
neous, uniform, and perfect—for therein lies all the beauty of the panorama.) 


DIAGRAM. 

1. Enter Band from left, playing “Dixie”—- 
marching to rear of stage; stand at left of rear while 
zouaves drill. 

2. Zouaves enter from right near front, preceded 
by captain, followed by single file—ones and twos 
alternating. March across front; turn squarely; 
march back to right; then to left, and so continue 
until rear of stage is reached, captain facing right of 


A SCARF DRILL. 


43 


stage. March up right side to front; across front 
to left. Captain commands : 

Halt; face f ront; position ; mark time ; back step . 
(Separate, the twos only, bringing them into rear. 
These should be the tallest;) attention; salute. 

From here the drill may be “according to discre¬ 
tion,” but if the pupils are very young—too little 
rather than too much. Marching in double file 
down the centre, then separating, makes a pretty 
change; also reversing , one half crossing the stage 
from left to right in front, while the rest cross from 
right to left in rear. 

During the zouaves 1 march band plays “John 
Brown’s Body ”—but is quiet during drill. 

After zouaves march away band follows, and girls 
march in reverse order from that of zouaves ; sing 
“ Brave Boys.” 

(Words and music may be had of Oliver Ditson 
Co., Boston; 867 Broadway, New York.) 

Where girls are not obtainable school may sing. 


A Scarf Drill. 


By Clara J. Denton. 


(The scarfs used in these movements should be about a yard in length, they may 
be made of silkolene, China silk, or even silesia. The colors must be bright and 
varied, care being taken that no two are of exactly the same shade. A pretty 
effect will be obtained if each scarf matches the dress worn. If preferred, the scarfs 
may be trimmed across the ends with small bangles. These will rattle pleasantly 
when moved. Red, white, and blue scarfs could be chosen for a patriotic occasion. 
The drill should be given with music. Any lively “ two-four ” tune maybe 
played ; “ Columbia, the Gem of the Ocean ” would be appropriate if the drill i9 
performed on Washington’s Birthday. There are twenty-two movements. The 
commands accompanying the movements represent various emotions. These 
commands, therefore, should be given loudly and distinctly, that the audience 
may catch the meaning of the movements. 

As the beauty of a drill of this kind depends upon its precision and vivacity, it 
is an excellent exercise in training pupils to habits of promptitude and alertness. 


COMMANDS. 


2. Attention. 

3. Salutation. 

4. Invitation. 


1. Repose. 


5. Curiosity. 

6. Derision. 

7. Surprise. 

8. Defiance, 



44 


FANCY drills and marches. 


9. Mortification. 
id. Indifference. 

11. Indecision. 

12. Consideration. 

13. Reconsideration. 

14. Watching. 

15. Waiting. 


16. Challenge. 

17. Triumph. 

18. Relenting. 

19. Dismissal. 

20. Recall. 

21. Appeal. 

22. Reconciliation. 


DESCRIPTION OF POSITIONS. 

The pupils march upon the stage in single file, 
each with her scarf lying across her breast, one cor¬ 
ner carelessly thrown over the right shoulder. They 
march to the centre of the stage and turn, facing the 
audience, when the teacher gives the first command. 

1. Repose .—They stand erect, heads up, eyes front, 
feet in military position, arms at sides, naturally. 

2. Attention. —With the right hand catch the scarf 
in the centre, and hold it up, keeping the elbow bent. 
This will bring the upper part of the hand just below 
the ear. 

3. Salutation .—Wave the scarf until next com¬ 
mand is given. 

4. Invitation. —Still keeping the right hand at the 
centre of the scarf, catch the two ends in the left 
hand, hold it loosely, and move it out the length of 
the arms, then bring it back as if beckoning, contin¬ 
uing until next order. 

5. Curiosity. —Take the right hand from the cen¬ 
tre of the scarf and catch it near the other end, then 
hold the scarf tight across the face just below the 
eyes ; bend body slightly forward. 

6. Derision. —Throw the scarf over the right 
shoulder, hands on hips, head thrown back ; face 
smiling. 

7. Surprise. —Catch lower end of scarf in the left 
hand, pull it quickly from the shoulder, then drop 
arm rigidly at side. The scarf must touch the floor. 
Facial expression startled. 

8. Defiance. —Bring left hand up quickly on a level 
with the eyes, catch the other end of the scarf m 


A SCARF DRILL. 


45 


the right hand, throw both hands up with the scarf 
behind the head, head well up and facial expression 
stern. 

9. Mortification. —Head bowed until chin touches 
breast, right hand laid on back of head, still hold- 
ing scarf, of course; left hand as low as is possible, 
while still retaining hold upon scarf; be careful not 
to let the scarf cover the face. 

10. Indifference. —Bring both arms forward, rest 
the left hand at centre of waist-line, swing scarf 
with right hand slowly back and forth; head in 
natural pose, face quiet. 

11. Indecision. —Same position, but right hand at 
rest, scarf held loosely, head on one side, eyes down¬ 
cast. 

12. Consideration. —Slowly roll the scarf upon both 
hands, head and eyes as in foregoing. 

13. Reconsideration. — Eyes and head as in fore¬ 
going, unroll scarf from hands. 

14. Watching. — Draw the scarf out tightly, raise 
just above the level of the head, body bent slightly 
forward ; facial expression eager. 

15. Waiting. —Lay left hand across the breast, 
right hand at centre of waist-line, letting the scarf 
fall at will. 

16. Challenge. —Raise the hands as high as possi¬ 
ble above the head, then throw them forward sud¬ 
denly, and at the same time take one step forward. 
Scarf held tightly, facial expression stern. 

17. Triumph. —Step back into former place, drop 
the end held by the left hand, bring right hand 
back and wave scarf above head. Face smiling. 

18. Relenting. —Catch one end of scarf in the left 
hand, right hand holding other end, bring arms down 
so that elbows touch sides, turn hands, palms up¬ 
ward, and bring them nearly together; scarf hangs 
loosely down in loop. 

19. Dismissal. —Arms and elbows as before, hands 
in upright position, palms outward; suddenly throw 
them out, drawing the scarf tight. 


46 


FANCY DRILLS AND MARCHES. 


20. Recall .—Hands brought slowly backward, 
until their backs touch the shoulders. Scarf lies 
loosely across the breast. 

21. Appeal .—Fall on one knee; left hand at side 
in easy position, right hand extended in front ot 
breast with palm upturned, and holding the scarf at 
its centre. 

22 . Reconciliation. —Rise, throw the scarf quickly 
around the waist so that the ends fall behind, hands 
extended as if in greeting. Face smiling. 

This concludes the movements, and at a signal 
from the teacher the pupils right about, so that they 
are standing in single file in marching order. When 
the teacher calls out “ march,” each girl takes one 
end of her scarf in her left hand, and places that 
hand on her hip, while with her right hand she seizes 
the free end of the scarf belonging to the girl in 
front of her. 

If there is plenty of stage room the pupils may 
march across the stage in this way two or three 
times, or they may march out at once. On this 
point each teacher must be guided by circumstances. 


Wreath Drill and March. 

By I. j. c. 

C 09 TUME. — (Girls.) Simple white dresses with blue sashes. Care should be 
taken to have the dresses of uniform length, and the sashes of same shade. 

Caps. —Blue with ordinary black visor. 

Wreaths— Twisted with white flowers, and tied with long blue ribbon, same 
shade as sashes. 

(Boys). Should it be convenient, a simple gray suit could be made of any cheap 
material. Should this be impracticable confine yourself to gray caps, whicn 
should correspond to the girls’ in shape. 

Wreaths.— Same size as girls’, but made of red flowers, and tied with long bows 
of gray ribbon. 

Flags .—Two good-sized bunting flags. At the top of one are streamers of blue, 
find at the top of the other one are streamers of gray. 

Music .—Any march in which the time is strongly 
marked. 

Lines .—One line of boys and one line of girls. 

Leaders .—One line will be headed by flag-bearc* 



wreath drill and MARCH. 47 

(a ); boy who carries flag with gray ribbons. The 
other line headed by flag-bearer ( b ) will consist of 
girls with blue ribbons. 

1. The girls enter from the right in single file, carry 
wreaths as high as head and in the right hand. 
Boys enter from opposite side with wreaths in left 
hand. 

2. By marching up either side of the stage and 
turning corner the leaders meet in centre of stage. 

3. At signal of piano (one) wreaths are lowered 
and boys change wreaths into right hand ; (two) face 
audience ; (three) flags and wreaths are raised as in 
salute; (four) lowered, boys change back to left 
hand; (five) face; (six) march. Lines cross each 
other in a short diagonal line and march to back of 
stage, where they meet and cross again. Repeat in 
front. 

4. Meeting again at back they form a double 
column and march down the centre of stage. 
Wreaths are now raised over heads horizontally. 

5. Line separates again at centre, marching across 
front of stage and down sides to back. 

6. Lines join at centre as before and cross wreaths 
in centre. The leaders going in single file, the flag- 
bearer (a) in advance. 

7. At front of stage first pair headed by leader (a) 
turn to left, second pair headed by flag-bearer (b) 
turn to right (remaining pairs alternating with these 
lines). 

8. Meeting at the back each couple slips into its 
original position. (With the assistance of one of 
the teachers or the older pupils who will stand 
quietly by during this separation and replacing, and 
motion to the children who are apt to become con¬ 
fused, this otherwise intricate march will become 
quite within the scope of little folk.) 

9. Wreaths are held over the heads of the pair in 
front as the lines come up the centre. 

10. Separate into single lines and proceed around 
stasre as at first. 


4 8 


FANCY DRILLS AND MARCHES. 


11. Meeting at back both lines join into one; a 
boy behind each girl. 

12. At front the flag-bearers make an arch with 
their flags, and the line marches under it and back 
to leaders. 

13. Leaders fall in line and (a) forms the line into 
a circle. 

14. Piano chord (one) face out; (two) salute as 
before ; (three) girls fall on one knee, each boy drops 
his wreath over his partner’s head. Flag-bearers 
step to centre of ring and cross flags; (four) girls 
stand and boys step forward and kneel. The girls 
then crown the boys; (five) stand, and all fall ip 
line, the leaders marching one around the stage and 
out. 


Rainbow Drill. 

With Recitations, Motion Song, and Physical 

Exercises. 

By M. D. Sterling. 

Recitation.— The Prism. 

(This should be given to one of the youngest scholars. If possible, let the 
speaker be supplied with a prism-shaped glass pendant from a chandelier or old- 
fashioned candelabra. It will add to the effect if the recitation is so timed that a 
ray of light can be caught by the prism, and made to dance upon the wall, dis¬ 
playing the rainbow colors. This will give the children an interesting object-les¬ 
son in connection with the recitation, but may be omitted, if net practicable.) 

There’s a chandelier at our house ; 

I tell you it is fine !— 

All hung with prisms just like this, (holds up glass) 
You ought to see it shine. 

When thro* a sash or open door 

The sunbeams chance to fall (catch ray iti prism ) 

We often see a rainbow dance 
Upon our parlor wall. 

'Tis violet, and indigo, 

’Tis blue, and green, and yellow, 

’Tis orange, and ’tis also red, 

In colors bright and mellow. 



RAINBOW-DRILL. 


4 $ 

Three-sided glasses {hold up prism ) show t'nai fight 
Is made of colors seven, 

The very same which, after rain, 

Shine out a bow in heaven. 

/always thought that light was white, 

Just trusting to my eyes ; 

But rainbow colors on the wall 
Have made me grow more wise. 

Motion Song by School.— The Shower. 

(This is sung to the air “ Flow Gently, Sweet Afton,” page 59 of Frankh* 
Square Song Collection, No. 2. The children are seated at their desks when they 
begin to sing. Figures 1—1. In time to the music, tap upon desks with ends of 
fingers. 2—2. The same, but more quickly, imitating the raindrops. 3—3. Hands 
in lap, heads drooping forward. 4—4. Heads uplifted, slightly thrown back. 
5—5. Hands descending, palms down. 6—6. Hands lifted, palms up. 7—7. Hands 
descending, palms down, in time to music. 8—8. Arms folded, head and body 
very erect, giving a prim effect. 9—9. Rise in time to music , and remain stand¬ 
ing. 10—10. Bending right arm at elbow, and lifting it, incline head upon it to 
imitate a bird’s hiding head under wing. 11—11. Same movement with left arm. 
12—12. Sway the body, right and left alternately, at the same time waving about 
the arms. 13—13. Hold right hand, palm downward and fingers slightly bent, 
above left hand, palm upward, as if sheltering the latter. 14—14. Hold arms out 
and widen distance between them in time to music, is—15. With hands on hips 
dance softly up and down on tiptoe. 16—16. Pass both hands with a smoothing 
motion right and left alternately. 17—17. Clap hands. 18—18. Looking upward 
diagonally to right, raise right hand slowly in same direction. 19—19. The sam; 
reversed. 20—20. Arms out in front, palms downward, wave hands up and down 
from wrist. 21—21. Place finger-tips together, and arch arms over head. 22—22. 
Look and step to right, still arching arms. 23—23. The same, reversed. 24— 24. 
Fold hands on breast, eyes looking upward. 25—25. Same as 21.) 

1 1 

Par, pat come the raindrops, pat, pat on the pane ; 

2 2 

Then, faster and faster, down rushes the rain ; 

3 . 3 

The earth plants are thirsty, and parched with the sun, 

A drink from the clouds will refresh every one. 

s 6 

Deep, deep in the ground, from the sky far above, 

7 7 

Sinks the warm, friendly shower all growing things love; 

8 8 

The flowers lift their heads, while the grass and the 
grain 

9 9 

Spring higher and higher at call of the rain. 

10 to 

In soft nests are hiding, with head under wing, 

11 it 

The birds that in sunlight so cheerily sing ; 


5 ° 


FANCY DRILLS AND MARCHES. 


12 12 
The trees wave their branches and drink with the rest, 

Their leaves keep the rain from each bird’s tiny nest. 

Now, widening streams as they haste on their way, 

15 ... 15 
Now, dancing on rooftree like fairies at play, 

16 16 

Now, laying the dust in both country and town, 

17 17 

Pat, patter, pat-patter, the rain-drops come down. 

18 18 

But lo ! overhead clouds are rolling away,— 

19 . I9 . 

The sun through the rain sending out a bright ray 

20 20 

That falls on the lingering shower’s last tears, 

21 21 

In sevenfold beauty, a rainbow appears ! 

22 22 

Shine forth pretty rainbow ! thy lesson is kind : 

23 23 

“ Tho’ dark be the clouds there is sunlight behind ; 

24 24 

With glad hearts look up to our Father above 

25 25 

Who gave in the rainbow a pledge of His love. 

Recitation.— Story of the Rainbow. 

(Seven children are selected for this recitation. The first child has a red block; 
the second, an orange-colored one; the third, yellow ; the fourth, green ; the fifth, 
blue ; the sixth, indigo ; the seventh, violet. The blocks should be held behind 
backs, or otherwise concealed, until it is time for their use, at the indicated place 
in the recitation. The children form a semicircle in the order of rainbow colors, 
beginning with red.) 

First child: Long, long ago, there was a great 
flood over all the earth. t 

v Second child: It rained, rained, rained, forty days 
~ and forty nights. 

Third child: The waters of the flood rose higher 
and higher. 

Fourth child: At last, even the mountains were 
covered with water. 

Fifth child: Nearly every living creature was 
drowned. Only a few escaped. 

Sixth child: After a long, long time, the rain 


RAINBOW-DRILL. $* 

came down less heavily, and the flood began to go 
away. 

Seventh child: By and by a beautiful rainbow was 
seen in the sky. It had seven colors: red, orange, 
yellow, green, blue, indigo, violet. (As each color is 
named the child having a corresponding cube takes it 
to a table standing near. The blocks should be piled 
one above another , beginning with red.) 

All the children: “And God said. ... I do set 
my bow in the cloud, and it shall be for a token of 
a covenant between me and the earth. . . . The 
waters shall no more become a flood to destroy all 
flesh. And the bow shall be in the cloud ; and I 
will look upon it, that I may remember the ever¬ 
lasting covenant between God and every living 
creature of all flesh that is upon the earth.” 

Rainbow Exercise. 

(Provide for each one taking part a bow painted or covered, either red, orange, 
yellow, green, blue, indigo, or violet. Of every color there should be an equal 
number of bows. The smallest children should occupy the front row, and have 
red bows • the next in height should stand directly behind the first, and have 
orange-colored bows, and so on, the tallest pupils occupying the last row. If there 
are more than seven rows, repeat the colors in order, beginning with red. The 
bows can be made of half hoops, or cut out of pasteboard ; the ordinary wooden 
coat-hangers, with the hook removed, would be excellent. In zephyr the exact 
prismatic colors can be procured ; therefore that material is best for covering the 
bows, winding them round and round, evenly. Count one and, two and, three 
and ^four and. to each movement. Music in four-four time with well-accented 
measures should be used. In counting, number the accented beats only. 

I. Attention. 2. Rise. 3. Mark time. 4. March 
for bows (hold with both hands, front). 

First strain : Push bow out and in. 

Second strain : Push bow right and left. 

Third strain: Raise bow, still holding it with 
both hands, up and down, alternately. 

Fourth strain : Combine the previous movements 
—out, right, left, up. 

Fifth strain : Grasp bow in centre with right hand 
and charge diagonally to the right, throwing right 
foot out, and stamping while the bow is held at arm’s 
length, left hand on hip. 

Sixth strain : Repeat the former movement, using 
left foot and hand in place of right. 


FANCY DRILLS AND MARCH HS. 


5 2 


Seventh strain: Bend knees and straighten alter¬ 
nately, bow resting, ends on shoulders, in an upright 
position. 

Eighth strain: Bend body at waist-line, forward 
and back, still holding bow across shoulders. 

Ninth strain : Holding bow at arm’s length over¬ 
head, sweep forward, lay it down, clap hands, and 
bring to position again. 

Tenth stram : Holding bow at arm’s length over 
head, sway body to the right and left, alternately. 

Eleventh strain: Bending diagonally right, hold¬ 
ing bow with right hand down, imitate the act of 
sawing wood. 

Twelfth strain : Same movement, only left instead 
of right. 

Thirteenth strain: Rock the bow from side to 
side, holding it with both hands. 

Fourteenth strain : Imitate the act of shooting with 
bow and arrow, aiming right, front, left, alternately. 

Fifteenth strain: Describe circles in the air, right 
hand grasping bow in middle, and arm moving from 
shoulder. 

Sixteenth strain : The same, with left hand. {March. 
Retur?i bozvs to place si) 


The Glove Drill. 

A SERIES OF MOVEMENTS FOR GIRLS. 

By Clara J. Denton. 

(Any number of girls may give this drill, but if the class is Jarge, a pretty 
effect may be obtained by dividing it into companies, placing two girls abreast, 
and arranging them in semi-circles about the stage. This, of course, can only be 
done where the stage is large. Where the class is small the eirls should march 
onto the stage in single file, and take their places in a row. They should carry a 
glove in each hand, held lightly (not swinging) by the fastening cord. The girls 
should be arranged according to height, unless there is little or no variation in 
size, which on the whole gives the most pleasing effect. 

The gloves used should be of as great a variety in color as possible, and in sizes 
ranging from six to seven. They must be new, and must have the “ Foster ” fas¬ 
tening. Fancy costumes, of bright colors, should be worn. Each glove and cos¬ 
tume should match as nearly as possible. 

The movements should be given with lively music. Any tune of “ two-four ” 
time may be played. 

There are in all twenty-one movements, which are made in obedience to the 
following commands, given by the teacher in a loud, clear voice : 



THE GLOVE DRILL. 


53 


1. At Rest. 

2. Attention. 

3. Salutation. 

4. Invitation. 

5. Watching. 

6. Waiting. 

7. Joy. 

8. Greeting. 

9. Indecision, 
to. Assent, 
tl. Surprise. 


12. Reconsideration. 

13. Denial. 

14 Discussion. 

15. Disagreement. 

16. Defiance. 

17. Reflection. 

18. Relenting. 

19. Conciliation. 

20. Reconciliation. 

21. Au Revoir. 


1. At Rest. —Head erect, attitude easy, feet in 
military position, hands, still holding gloves by the 
fastening cord, crossed easily, below waist-line. 

2. Attention. —Catch gloves by the tips, holding 
the opening toward the body if possible, bring hands 
to waist-line, and let the backs of fingers touch. 
Head up, chin close to neck, eyes front, feet in mili¬ 
tary position. The directions here given for head, 
chin, eyes, and feet, must be observed throughout 
the drill, except where otherwise ordered. 

3. Salutation. —Bring hands up, touch tips of 
gloves to forehead, head slightly inclined; drop 
hands at side. 

4. Invitation. —Bring hands up to level with shoul¬ 
ders, beckon with gloves, so that the ends of the 
gloves flap back against the shoulders. Repeat 
three times. Face smiling. 

5. Watching. —Bring tips of fingers together just 
above the eyes, and so peer between the gloves. 

6. Waiting. —Hands on hips, gloves thrown well 
forward over body. 

7. Joy. —Raise arms above head and wave gloves; 
clap hands three times. Facial expression smiling. 

8. Greeting. —Left hand at side, right hand ex¬ 
tended, glove held lightly by tips. Face smiling. 

9. Indecision. —Take’ both gloves in right hand and 
draw them slowly through the left hand. Head on 
one side, eyes wandering. 


54 


FANCY DRILlS AND MARCHES. 


10. Assent. —Roll the gloves around the left hand 
slowly. 

11. Surprise. —Drop both gloves suddenly; in re. 
covering, catch them by the fastening cord, one in 
each hand. 

12. Reconsideration .—Hands at sides, swing gloves 
lightly by cords. Head and eyes as in No. 9. 

13. Denial. —Hands behind back; facial expres¬ 
sion stern; while the hands are in this position re¬ 
new again the hold on the tips of the gloves. 

14. Discussion. —Rest the elbows on the hips, and 
holding the hands up, flap the gloves quickly to¬ 
gether. Facial expression earnest. 

15. Disagreement .—Take elbows from hips, and 
with the hands at about the same height turn the 
gloves quickly around and around, letting them 
strike and twist together. Facial expression as in 
foregoing. 

16. Defiance. —Throw right glove down angrily, 
extend right foot, right hand held in throwing posi¬ 
tion until next command is given. Facial expres¬ 
sion stern. 

17. Reflectio 7 i. —Hands clasped at waist-line, still 
holding tips of one glove by left hand. Head bend¬ 
ing forward, eyes downcast. 

18. Relenting. —Recover glove, place it in left 
hand with its mate, and stand with left elbow on 
hip and left hand upheld in easy position, right hand 
holding one glove at wrist. Face calm. 

19. Conciliation. —Still holding both gloves by the 
left hand, throw them upon the left shoulder. Fa¬ 
cial expression slightly smiling. 

20. Reco 7 iciliation. —With a glove in each hand 
held by the tips, extend the hands close together, 
but toward the right. Facial expression smiling. 

21. An Revoir. —Kiss tips of fingers on both hands, 
throw the hands out with a swift upward movement, 
waving gloves. As they march out each girl lays 
her hands on the shoulders in front of her so that 
the wrists of the gloves fall down over the shouF 


TAMBOURINE DRILL. 


5S 


ders. March around the stage three times to lively 
music and then exit. 


Tambourine Drill. 

By Eloisk Hemphill. 

(A Spanish costume is very pretty for this drill, but a dress of any color and 
material may be used. Ribbons, corresponding to predominating colors in cos¬ 
tume, should be tied through the thumb-hole of tambourine. Arrange the class 
with the smallest in front; in marching to places, have the class march single file 
down the centre of stage; numbers i, 3, and 5 turn off to the left and stop about 
three feet apart on the front line ; numbers 2, 4, and 6 turn to the right and take 
their stand three feet apart on front line; numbers 7, 9, and 11 take their places 
three fret behind t, 3, and 5, respectively ; numbers 8, 10, and 12 behind 2, 4, and 
6, and so on until all the odd numbers stand on the left half of stage, and the even 
numbers on the right half. Pupils should hold the tambourines in the right hand, 
at the side when marching, and throughout the entire exercise. The arms and 
body should move gracefully. The eyes should follow the tambourines in every 
movement except in positions 8 and 10.) 

1st Position. —With drum of tambourine turned 
toward the audience, strike the front of tambourine 
with tips of fingers of left hand on the odd beats 
through 8 counts. 

2d Position. —Throw right arm obliquely across 
front of body to left side, and strike the tambourine 
against left finger tips, through 8 counts, as in first 
movement. 

3d Position. —Swing tambourine from left to right 
alternately, striking once each time through 8 counts. 

4th Position. —Holding tambourine up to the right, 
proceed as in direction 1st. 

5th Position. —Holding tambourine up to the left, 
proceed as in direction 2d. 

6th Position. —With arms still up, alternate from 
left to right as in direction 3d. 

7th Position. —Strike once at right side with arms 
down as in position 1; once at left side with arms 
up as in position 5 ; once at right side with arms up 
as in position 4; once at left side with arms down 
as in position 2 ; repeat through 16 counts. 

8th Position. —Left hand on hip; body slightly 
bent forward as if listening, standing with weight on 



56 FANCY DRILLS AND MARCHES. 

right foot which is about 12 inches in advance of 
left foot; bend right arm at elbow until side of tam¬ 
bourine rests on right shoulder; shake tambourine 
gently through 8 counts. 

9th Position. —Feet in same position; body 
straightened with weight thrown on left leg which is 
slightly bent; right one perfectly straight; eyes 
forward; left elbow at waist-line, hold the fore-arm 
in front of body in an easy, graceful position ; bring 
tambourine down from right shoulder on the odd 
counts, striking it against fingers of left hand; 
through 8 counts. 

10th Position. —Left hand on hip; weight of body 
on left leg; head turned toward the left; right arm 

straight in front; wave 
the tambourine toward 
the audience on the odd 
counts, as if repelling 
some one; this move¬ 
ment is made by wrist 
motion alone ; through 8 
counts. 

11 th Position. — Posi¬ 
tion of left hand still on 
hip: weight of body, 
which is bent considera- 
;CENTEK bly orward, thrown on 

right leg with knee well 
bent; strike the right 
knee with drum of tam¬ 
bourine on odd counts, 
and left shoulder on the 
even counts, through 16 
counts. 

12th Position. — All 
kneel on right knee, hold¬ 
ing both arms over head; 

__ strike tambourine 

0 m m mm m 9 0 0 0% 0 mmm through 8 counts* 









FINALE FOR A TAMBOURINE DRILL. 


5t 


MARCH. 

At a given signal, all rise from kneeling position 
with tambourine held at right side. Half of the 
class turn to the left and half to the right following 
their respective leaders, who march to the left and 
right making each a circle, as shown in diagram 
above. When leaders have reached the centres, at 
a given signal, let every one raise arms above head 
and strike tambourine in perfect time with music; 
while leaders wind their way out, which is done by 
following the dotted lines. 


Finale for a Tambourine Drill. 

By Jay Bee. 

A tambourine drill was successfully ended, the 
children each having a tambourine with red, white, 
and blue ribbon tied on it. A two yards bow of the 
same, two inches in width, with a safety-pin sewed 
in to prevent its opening, had been placed on the 
right shoulder of each girl and boy, as the children 
marched from the wing back of the stage. 

At a given signal, when the drill was finished, the 
tambourines were taken in the left hands, while each 
child took one end of the ribbon hanging from the 
shoulder of the child in front and slowly marched 
around, gradually winding up thus. 

The effect was pretty and patriotic, and after a 
minute or two in that position the leader slowly 
turned and marched out, the tambourines with rib¬ 
bon and bells, and the children still forming a chain, 
made a very graceful exit, while the applause which 
followed showed the delight and appreciation of the 
audience. 



58 


fancy drills and marches. 


Ruler Drill. 

By Lettie Sterling. 

(For an even number of children, twelve being a good number to take part. 
Each child requires two rulers one foot long. All the rulers should be alBt*. 
For the music use the tune of the college song, “ Jingle Bells.” Each stanza in¬ 
cludes a verse and the chorus.) 


I. 

For this stanza the children enter marching, keep, 
ing step and beating time by clapping rulers to¬ 
gether softly and musically, moving them so that 
they can clap on the words marked They march 
twice around the stage singing “ Tra la la,” and 
pause in order when they begin to sing, “ Clap 
away! ” 

Tra 1 la la la la, 1 
Tra 1 la la la la, 1 
Tra 1 la la la la, 1 
Tra 1 la la la la, 1 
Tra 1 la la la la, 1 
Tra 1 la la la la, 1 
Tra 1 la la la la la la la, 1 
Tra 1 la la la la 1 
Clap 1 away ! Clap 1 away! 

Rulers 1 that are law 1 
When 1 we wish to measure things, 1 
When we wish to draw. 1 
Play 1 a tune, play 1 a tune, 

Merry, 1 glad and gay, 1 
Rulers 1 help us in our work, 1 
They shall join our play. 1 

II. 

2. Stretch right hands with rulers as high as po* 
sible. 

3. Let right hands drop. 

4. Stretch left hands with rulers as high as possi¬ 
ble. 

r Let le£t hands drop. 


RULER DRILL. 


59 


6. Stretch both hands up, and use rulers as if try¬ 
ing to knock the peach off. 

7. Lay rulers at the feet. 

8. Rub left arms as if they pained. 

9. Rub right arms. 

10. Pick up rulers. 

First 5 let’s make believe 
That* a tempting peach 
Hangs 4 upon a limb 

That’s 5 quite out of reach ; 

We stretch* our arms up high, 

And lengthen them with sticks, 

To find we only beat the air: 

It 5 still defies our tricks. 

O dear me ! O dear me !* 

Arms are aching now 
Just because we wanted fruit 
On too high a bough ! 

O dear me ! O dear me !“ 

Listen while we preach, 

Folks must suffer who will try 
For what’s out of reach. 10 

III. 

11. Place rulers together so they can be grasped 
horizontally in both hands as if they were but one, 
and in that position lift both arms toward the ceil¬ 
ing to bring the rulers as a bar over the head. 

12. Let the arms move slowly down until the 
rulers (that now look like a horizontal bar) nearly 
touch the toes. 

13. Repeat 11. 

14. Repeat 12. 

15. Repeat 11. 

16. Be in position. 

17. Turn so as to face the right. The one at the 
head of the line holds the two rulers pointing 
straight ahead, the rest place the tips of their rulers 
on the shoulders of the one in front. 


6o 


FANCY DRILLS AND MARCHES. 


18. March until the next stanza begins, keeping 
the rulers as in 17. 

Healthy girls and boys 11 
Never can be still, 

Though their elders frown 1 * 

Move about they will ; 

Sometimes climbing high,'* 

Sometimes bending low, 14 
Every day they’re quick and spry 1 * 

And every day they grow. 18 
March along, march along,” 

March along the way. 1 * 

Each one guide the one ahead 
So that none shall stray. 

March along, march along, 

March with music gay ; 

When our lessons all are done, 

Merrily we play. 

IV. 

19. Stand with rulers as in 17, and prance by 
marking time with feet while standing still. 

20. Stand still and mark time, and in addition 
gently hit the shoulders of the one ahead with rulers. 

21. March as in 18. 

When our path is stopped, 19 
All impatient we 
In our places prance, 

Longing to be free ; 

Naughtily we tease, 20 
Naughtily we fret, 

Till we see our road is clear 
And we our wishes get. 

March along, march along, 9 ’ 

March along the way. 

Each one guide the one ahead. 

So that none shall stray. 

March along, march along, 

March with music gay ; 

When our lessons are all done, 

Merrily we play. 


RULER DRILL. 


6t 


V. 

22. Hold rulers so they meet in an acute angle over 
the head. The first one starts toward the right, the 
last one starts toward the left. Each is followed by 
half of the children. Keeping rulers in position, 
they march back, meet in centre, come down two by 
two, separate and repeat the march, and come back 
to position, still keeping rulers in an acute angle 
overhead. 

23. Do what the words say. 

24. Look over right shoulder. 

25. Same as 23. 

26. Look over left shoulder. 

An arch of triumph now ” 

We place above the head, 

And bravely follow on 
Wherever we are led ; 

No soldier of the past 

Who knew his cause was won 
Could in his heart feel greater joy 
Than we who march for fun. 

Yes, yes, yes ; no, no, no ; 2 * 

Guessing is delight. 

Now we’ll o’er our shoulders glance*" 1 
For another sight ; 

Yes, yes, yes ; no, no, no ; 56 

Oft we change our mind— 

You can tell us which is right 5 * 

While we look behind. 

VI. 

27. Face back of stage ; two middle ones become 
leaders of two divisions, marching toward the back 
two by two, separating and coming back and re¬ 
peating, while rulers rest upon the shoulders, held 
there in some pretty way. 

28. Let tips of rulers touch as words direct. 

29. Touch shoulders. 

30. Touch hips. 


62 


FANCY DRILLS AND MARCHES. 


31. Touch shoulders. 

32. The first and last drop the outside hand, while 
all stretch out their arms at either side, and with the 
tips of the rulers touch their neighbors’ shoulders 
and hips. 

33. Touch neighbors’ shoulders. 

34. Touch neighbors’ hips. 

35. Stand in position. 

Oft we change our ways; ,T 
Old things will not do. 

When we of them tire, 

Up comes something new. 

On our shoulders straight 
Rest a pair of wings ; 

Tripping, tripping go the feet 
And jolly music rings. 

Shoulders, hips, shoulders, hips,* 8 
See the rulers go,* 9 

Touching ball-and-socket joints, 80 
Flying to and fro ; 31 

Shoulders, hips, shoulders, hips, 88 
Of our neighbors see— 1,3 

Oh how fast our muscles move, 84 
Oh how great the glee ! 86 

VII. 

36. Half-follow the first one, half-follow the last 
one, one company going toward the right, the other 
toward the left. Each company marches around 
twice, passing the other twice during the march, and 
comes back to position for 37. Rulers are held 
above the head as if they were a heavy basket, until 
the march ceases. 

37. Touch hips with rulers. 

38. Touch knees. 

39. Touch toes. 

40. Touch hips. 

41. Touch knees. 

42. Touch toes. 


RULER. DRiLL. 


*3 

43. Raise rulers over head. 

44. Swing arms in a circle and bring them back 
to the side. 

45. Touch hips. 

46. Touch knees. 

47. Touch toes. 

48. Touch hips. 

49. Touch knees. 

50. Touch toes. 

51. Raise rulers over head. 

52. Repeat 44. 

Now we march again M 
In another way ; 

For variety 

Is the spice of play. 

Rulers over head 
Like a heavy load, 

We gladly many burdens bear 
Along this pleasant road. 

One/' two/" three ; 39 one/ 0 two/ 1 three; 44 

We must keep the time ; 43 
With whate’er the verses say 44 
Movements all must chime. 

One/ s two/ 8 three ; 47 one/ 8 two/* three;** 

Not too fast or slow/ 1 
But in perfect harmony 
Let the rulers go. 

VIII. 

53. With rulers held upon the hips in some pretty 
manner, skip in a frisky way around the stage. 

54. Stop the skipping, and march ; as each one 
t eaches the centre of the stage let him make a grace¬ 
ful bow to the audience. 

A 

Rulers on the hips/ 3 
See us skip away ! 

Tra la la la la, 

’Tis a happy day! 

Merrily we come, 

Merrily we go, 


& FANCY DRILLS AND MARCHES. 

This is healthy exercise— 

Cheeks are all aglow. 

Now good-bye, now good-bye,** 

Now good-bye to play, 

For it seems as bad as work 
When it lasts all day ; 

Now good-bye, now good-bye, 

Now good-bye to play, 

When again our work is through, 

It will seem as gay. 

IX. 

55. Stand still in line and softly beat time witr. 
rulers, as in first stanza, while singing “Tra la la.” 

56. Begin to march out, waving good-bye with 
rulers in hands toward audience. 

Tra la la la la, 66 
Tra la la la la, 

Tra la la la la, 

Tra la la la la, 

Tra la la la la, 

Tra la la la la, 

Tra la la la la la la, 

Tra la la la la. 

Clap away ! Clap away ! 

Rulers that are law 
When we wish to measure things, 

When we wish to draw. 

Play a tune, play a tune, 68 
Merry, glad and gay. 

We are still a cheerful crew 
Though we leave our play. 


Grouping with Flags. 

By Carl Betz. 

(T.ht Flags .—The flags may be of any design or color desired. The common, 
printed American flags are the most inexpensive. Flags made of merino or any 
other soft, pliable goods are prettier and will drape better. 

All the flags (with the exception of the American flag) have three broad stripes, 
the middle stripe being invariably white. The two outer stripes are colored. Each 



GROUPING WITH FLAGS. 


6 S 


jjirl has two flags of the same color, and there may be other flags of the same colo» 
in the group (See Fig i). 

The flags should be about 24 inches long and 18 indies wide. The stripes run 
lengthwise and at right angles with the stick. The stick is round, 36 inches long 
and % inch thick. The flag is fastened about 2 inches from the top of the stick 

Holding the Flags. —Each girl has two flags (of the same color), one in each 
hand. The stick is grasped about two inches from the lower end and is held be 
tween the thumb and the first two fingers, similar to the position of the hand when 
holding a pen. The backs of the hands are turned to the front. The flags are 
held vertically at the sides of the body, the upper part of the stick being pressed 
into the shoulder-groove. 

Costume. —The girls may be dressed in plain white or in fancy dresses, accord, 
ing to the taste and design of the teacher. 

Musical Accompaniment. —The exercise is to have a musical accompaniment 
(piano or orchestra). Almost any brilliant march or waltz music will answer. 

Conducting the Exercise. —The teacher conducts the exercise. She (or he) 
should stand in front and at one side of the class, where she can see all and all 
tan see her. All changes are made at a signal given by the teacher. A call-bell 
\muffled) will answer. A tambourine, which may be decorated with ribbons, 
lightly tapped by the teacher, is more pleasing and prettier. 

The Class. —The girls composing the class should, if possible, be of the same 
size. If this be not practicable, the girls should be graded as to size, so that the 
appearance of the class will be symmetrical.) 

ARRANGEMENT OF THE CLASS ON THE STAGE* 



Pint 

Rule. 

Give 

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Salmon 

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B C 

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Distance apart : Full arm’s-length (not including the flags.) 


THE MARCH. 

ENTRY. 

The march must be left largely to the ingenuity 
of the teacher. If the exercise is given on a large 
stage, the girls arrange behind the scenes on either 
or both sides. 

If the exercise is to be given in the school, the 
girls arrange in the hallway or in one of the class* 
rooms. . 


66 


FANCY DRILLS AND MARCHES. 


They arrange in one flank rank (standing behind 
each other) and in their regular order, as indicated 
in Fig. I. 

The flags are held at the sides, as already described, 
and as soon as the music has begun, the class march 
to the place where the exercise is to be given. 

The first four face front, take proper distance, and 
halt when they arrive at their places. The second, 
third, and fourth four, successively, do the same 
thing. This is about the simplest way to bring the 
class out. Teachers may, and should, if possible, 
elaborate on this march. 

THE EXERCISE. 

Each of the following attitudes, which form the 
figures, is to be taken after the signal has been given 
by the teacher, and each girl is to resume her origi¬ 
nal position again at the proper signal. The move¬ 
ments are to be moderately slow and uniform. 
When changing places all feet are to move in unison. 
Be sure to guard against the movements being too 
slow, and avoid all hurrying and fussing. The fig¬ 
ures of the first part should be held through about 
eight slow counts. Those of the other parts througn 
at least sixteen counts, and the last tableau must be 
held as long as is necessary to finish the song. 

The pause intervening between two changes must 
not be too long. 

The music does not stop at any time, except for 
the song, and the gymnastic movements are not 
bound to any particular measure or part of the 
music. 


PART I. 

I. (a) All: turn to the right, longe forward with 
the right foot to the right, and place arms and flags 
in slant position forward-upward (Fig. 2). 


flKOUPING WITH FLAGS. 


6? 



\\ 

'A \V 

B C 

r % * 


W 

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All: recover. {Flags at sides.) 

All: the opposite position (Fig. 3). 


fs // // // 

V // // // 

A B C t> 

3 

a 


(*) 


3 * (*) 


All: recover. 

r Ranks A and B : the same po¬ 
sition to the left. 

Ranks C and D : the same po- 
^ sition to the right (Fig. 4). 






Simul¬ 

taneous 


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A © C O 


~Fl<> .Af 

(£) All: recover. 

4. (a) All : the opposite position (Fig. 5). 

"A N\ // // 

\ N \\ // // 

A 0 C O 

T.6 s 




68 


FANCY DRILLS AND MARCHES. 


(£) All: recover. 

' Ranks A and C : the same po- 
/ v J sition to the left. 

5 * \ a ) ] Ranks B and D : the same po¬ 
sition to the right (Fig. 6). 


//\\ 

// \\ 

a e 


V 

D 


// w 


Simui- 
taneous. 



(£) All: 
6 . (a) All: 


recover. 

the opposite position (Fig. fy 


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w 

A 


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6 C 


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O 



(£) All: recover. 


PART II. 


I. ( a ) All: arrange in four squares, facing the cen 
tre (flags at sides). (Fig. 8.) 


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/tr 

It 

A 


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N 

V 

7 

N* 

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GROUPING WITH FLAGS. 


6a 


(t) At the next tap, cross inner flags with op¬ 
posite girls. The arms and flag-sticks are 
to be straight, slanting upward. The 
four flags in each square are to be 
grouped symmetrically and held over the 
middle of the square. 

(c) At the next tap all place inner flags at 
sides. 

(< d) At the next tap, all resume the original 
position (Fig. i). 

2 . (a) At the next tap, all arrange in four squares 
(Fig. 8). 

( b ) At the next tap, all cross inner flags as in 

I b. 

( c ) At the next tap, cross the outer flags in the 

same way, arranging the eight flags in a 
symmetrical group. 

( d) At the next tap, all place flags at sides. 

First take off the outer flags, one at a time, 
and then the inner flags in the same way. 

(e) At the next tap, all resume the original 

position (Fig. i). 

PART III. 

I. (a) At the tap, all arrange in five groups, as 
shown in Fig. 9. 

\ g/ / 

IS* V 

<4 



Simultaneous 


*o 


FANCY DRILLS AND MARCHES. 


{b) At the next tap : 

Nos. 6, 7, io, and ii place the inner arms 
and flags in slant position forward-upward, the 
points of the sticks meeting over the middle of 
the square. The outer arms and flags in oblique 
•< position downward. The four groups of three, 
facing outward, longe forward (i, 2, 5 ; and 12, 
15, 16 with right foot, the other two groups with 
the left foot) and place both arms and flags in 
slant position forward-upward. 

(c) At the next tap, all recover (Fig. 9). 

( d ) At the next tap, all resume the original 

position (Fig. 1). 

PART IV. 

I, At the tap : ( a ) All arrange in a circle, facing 
inward, with No. 11 in the middle (Fig. 10). 


'k 

' 7 . 

j>Y 


\0 *3T 


£ 


ft 


•\? 

-H 

V<* 


* % 




10. 

At the next tap: All, except No. 11, place 
both arms and flags in slant position for¬ 
ward-upward, all flags meeting in a point 
over the head of No. 11. 

(c) At the next tap: All, except No. 11, turn 
half-way around {about-face /), those at the 
right turning to the right, those at the left 
turning to the left; longe forward (those at 
the right with the right foot, those at the 




Simultaneous. 


GROUPING WITH FLAGS. 


7 * 


left with the left foot), and place both arms 
and flags in slant position forward-upward. 
Those in the rear raise their flags a little 
higher, those in front hold their flags a 
little lower than the true slanting position. 
No. 11 places her right arm and flag in ver¬ 
tical position upward. 

[d) At the next tap: All recover, standing in a 

circle, as in Fig. io, but facing outward. 

[e) At the next tap: All resume the original pa 

sition (Fig. i). 


PART V. 


*, (0) At the tap : All arrange as shown in Fig. 11. 





(J?) At the next tap : All assume positions 
as follows: 

All in the half-circle place both arms and 
flpgs in oblique position upward, crossing own 
flags with neighbor’s flags on both sides, except 
Nos. 1 and 4 outer flags, and Nos. 14 and 15 
inner flags. 

Nos. 1 and 4 outer flags are placed in the 
same position, but more to the side. 

Nos. 14 and 15 inner flags are also placed in 
the same position, but flag-points meet. (See 
Fig. 12.) 


V 







Simultaneous. 


?2 FANCY DRILLS AND MARCHES. 

Nos. 10 and 11 stand in front and at some 
distance from Nos. 14, 15, and place outer flags 
to a point beneath their crossed inner flags. 
(See Fig. 13*).. 

No. 6, standing in front and between Nos. 10 
and 11, places both flags together, and folds 
the sticks horizontally in front of her, just below 
the shoulders, letting the flags hang straight 
and vertically downward. (See Fig. 13). 

No. 7 kneels on one knee in front of No. 6, 
and crosses her flags on her breast (Fig. 13). 


10 ±1 



7 


X 

(c) At the next tap: One of the girls, No. 6, sings 

“ The Star-spangled Banner,” accompanied 
by the orchestra or the piano. All the girls 
join in the chorus, No. 6 waving her flags, 
taking one in each hand. 

(d) At the next tap : All recover (Fig. 11). 

(e) At the next tap: All resume the original posi¬ 

tion (Fig. 1). 

FINALE AND EXIT. 

The girls march off as they came. All march for¬ 
ward, the first four face to the right, the second, 
third, and fourth tours following, successively, until 



flag drill NO. i 


73 


all have arranged in one flank rank. The class then 
marches out of the room or off the stage. 

This march, too, is left to the taste of the teacher. 


Flag Drill No. i. 



By Lillian E. Snow. 


MARCH. —Eight children on each side of stage 
enter from the back side-entrance; lines pass, com, 
ing to front, pass in front, meet in the centre of back 
of stage, and march forward in couples, first boys in 
each line marching together, number twos together, 
and so on. During this part of march flags are 
held in right hand and leaning against right shoulder. 
Lines separate at front and meet again at back; 
with flags crossed, march again to front, separate, 
meet again at back. When first couple meet, each 
grasps the other’s right wrist with left hand, face 
front, arms crossed so that flags are perpendicular 
in front of partner’s right shoulder. Each succeed¬ 
ing couple does the same, with no loss of time. 
First couple march to middle, and then two steps to 
left. Second couple to middle, two steps to right. 
Third couple to left of first. Fourth couple to right 
of second, making a line of eight. Fifth couple 
march around first line to left, and stand in front of 
first couple. Sixth couple march around to right, 
and stand in front of second, seventh in front of 
third, and eighth in front of fourth, all moving at 
same time till places are reached in line. At a given 



74 


FANCY DRILLS AND MARCHES. 


signal or certain count, arms are uncrossed, and each 
holds flag against right shoulder. 

After eight counts the teacher outside or leader on stage gives the following 
commands. Each command requires eight counts, every eighth count being first 
position , viz., flag in front of right shoulder, facing front. It will be well to 
give the command either on every seventh or every eighth count, so that pupils 
will be ready to assume the new position. The figures after each direction indi¬ 
cate the counts. 

1. SALUTE.—Right hand forward (i), back (2), out 
at side (3), back (4). Position, 5, 6, 7, 8. 

2. SHOULDER.—Right hand placed on left shoul¬ 
der, flags perpendicular, I, 2, 3, 4, 5, 6, 7. Position, 
8 . 

» 3. DROOP.—Step obliquely forward with right 

foot, 1, 2, 3, 4, 5, 6, 7, at same time holding flagstaff 
horizontally out in front of body, with flag waving 
downward. Position, 8. 

4. Retreat.—B ack eight steps. 

5. Break Ranks.—E ach pupil face partner (1), 
cross flags, 2, 3, 4, 5, 6, 7. Position, 8. 

6. FORWARD. — Eight steps forward, waving on 
every count—left 1, right 2 ; 1. 3, r. 4; 1, 5, r. 6; 1. 7. 
Position, 8. 

7. Friendship.—C ross flags, facing front. 

8. UNFURL.—Step, obliquely forward and place 
right hand on left shoulder on count 1. Wave flag 
to right on count 2, and hold it up counts 3, 4, 5, 0, 

7. Position, 8. 

9. Wave. —Left 1, right 2, left 3, etc. Position, 

8 . 

10. Line. —First line move back against second 
line, stand—eight counts. 

11. STACK.—First, third, fifth, and seventh couples 
composing left end. Second, fourth, sixth, and 
eighth couples forming right-hand end. Left end 
and right end each form small circle, right hands ex¬ 
tended toward middle, bringing all flags in a bunch ; 
hold as high as shortest boy can reach. Take eight 
counts to get this position. 

12. Wheel. —Still with stacked flags each circle 
moves forward in circle eight counts. 


FLAG DRILL NO. i. 


7S 


13. Back. —Wheel back eight counts. 

14. Line. —Move gradually into same position as 
No. 10. Position of flags on 8. (Caution.—Do not 
take position of flags in numbers 11, 12, 13.) 

15. POSITION.—First line march forward eight 
abreast to same place occupied at opening of the 
drill. 

16. March. —First couple move first—left hand 
No. 1 to left; right hand No. 1 to right; second 
couple next, third next, etc., forming in two lines, 
facing each other, one line at left side of stage, other 
line at right side of stage. Take as many eights as 
necessary. Two will probably be enough. 

17. Forward. —Four steps forward, waving flags 
at same time, stand, 5, 6, 7, 8. 

18. March. —To position in the two lines as they 
were at opening of drill. (This may take more than 
one set of eight counts.) 

19. GROUND.—Right hand forward, 1, 2, lay on 
floor, but holding staff in hand, 3, 4, rise with hand 
forward, 5, 6. Position, 7, 8. 

20. TRIUMPH.—Step obliquefy forward on count 
one , also waving to left and right on 1, 2. Hold flag 
in that position, 3, 4, 5, 6, 7. Position, 8. 

21 . DEFIANCE. —Partners face, 1, step obliquely 
forward with right foot, and at same time place right 
hand with flag on left shoulder, 2. Wave out to 
right, 3, hold it, 4, 5, 6, 7. Position, 8. 

22. Friendship. —Repeat number 7. 

1 23. PEACE. —Let flag droop behind shoulder, right 

hand against shoulder, staff pointing horizontally 
backward. Position, 8. 

24. WAVE.—Repeat number 9. 

25. Surrender. —Hold flag in position four 
counts. On count five , open the hand, letting flag 
fall. (Do not take position on count 8.) 

26. Recover. —Take two counts to stoop, take 
hold of and lift flag, hold on 3, 4. Position, 5, 6, 7, 
8 . 

27. Shoulder.—R epeat number 2. 


76 


FANCY DRILLS AND MARCHES. 


28. WAVE.—Repeat number 9. 

29. Rest. —Place top of flag on floor, holding still 
in right hand. Position, 8. 

30. Display. —Bend the hand so as to let the 
staff lie horizontally across body from right shoulder 
to left, flag drooping down. Position, 8. 

31. Wave.—R epeat number 9. 

32. Friendship. —Repeat number 7. 

33. Salute. —Repeat number 1. 

34. March.—R epeat number 16. 

35. Forward. —Flags pointing slightly forward, 
take four steps which will bring the lines nearly to¬ 
gether with flags meeting at the top, forming a 
bower. Hold this position, 5, 6, 7. Position, 8. 

Now the performers are in line in centre of stage, facing front, flags against 
shoulders, with the number eights as leaders instead of numbers ones, who led in. 

Left line march to left, forming a circle with his 
line; at same time, right line march to right, form¬ 
ing a circle with his line. This will take two eights 
to get space between boys tolerably even. At 
given signal or count they stop and form a complete 
circle by each left hand taking the other’s right. 
Stand through the eight counts, and then, raising 
hands as high as possible, circle eight steps forward 
and eight steps back and stop. Break into circles of 
four, stand through eight counts, then circle eight 
steps forward and eight steps back, with flags high. 
Then stop, form the two large circles again, circle 
forward and back, then number eights break and 
march to front of stage, sevens next, then sixes, and 
so on, making a double line in centre of stage. (It 
may take two sets of counts to get all in position.) 
Then march off to left in double line, waving flags to 
left and right as they pass off. 

Note.— This can be made longer if desirable by repeating numbers. The ef¬ 
fect of the drill is very pretty when the pupils are thoroughly acquainted with it. 
Lines must not be formed too far to the front, so that when flags are Surrendered 
(No. 35) there will be plenty of room on stage. The flag's should be two-foot 

flags. 


FLAG DRILL NO. 2. 


77 


Flag Drill No. 2. 

By Eloise Hemphill. 



Any number exactly divisible by six may take 
part in this drill. Arrange according to size, the 
smallest in front; each child is to carry a flag 18 X 
36 inches, the staff 18 inches longer than length of 
right arm measured from index finger to shoulder, 
ii yards average length. Position of flag in march¬ 
ing, staff at C held in right hand, resting on right 
hip, diagonally crossing the breast to left shoulder, 
where it is held at A by left hand. 

Enter class from right side at H , march across to 
/, down to a , first six turn to left, stop at respective 
places, 1, 2, 3, 4, 5, 6; next six turn at b , stopping 
at 7, 8, 9, 10, 11, 12, the remaining sixes turning to 
left at c , d y and e. 

All mark time with left foot, until musician strikes 
a chord, then all must stand perfectly still, facing 
left. Chord 2 is for all to face the front, heels to¬ 
gether, toes out. Chord 3, right arm straight down 
at side, left hand at right shoulder, still clasping staff 
at A. Chord 4, left arm down at side. Musician 
should at once begin with some good march, on first 
note of which the class should commence drilling. 























7* 


FANCY DRILLS AND MARCHES. 


1st Position. —Extend right arm forward (flag held 
vertically), grasp flagstaff at B with left hand on 
first note; hold flag in the position through 4; on 
5, 6, right hand at A, left slipping down to C , bring 
flag to left side, right hand at left shoulder, in this 
position on 6; on 7, 8, drop right hand at side. 

2d Position. —Extend left arm forward, flag held 
vertically, right hand at B, etc., as in first move¬ 
ment; on 5, 6, flag in front of right shoulder, right 
hand at C, left at A ; on 7, 8, left hand at side. 

3d Position. —Staff held in right hand at C on left 
hip; left hand at By staff slanting upward to left 
side ; head drooping a little to the left; eyes down ; 
remain in the position 8 counts. 

4th Position .—Right hand at C y staff perpendicu¬ 
lar on right shoulder; left hand at B ; arm curved 
gracefully over head, which is now erect, eyes for¬ 
ward ; 8 counts. 

5th Position. —Right hand at C\ left at B ; staff 
on left shoulder slanting upward to the left; eyes 
looking up at flag; 8 counts. 

6th Position. —Same as third, except staff slants 
upward to the right from right hip ; 8 counts. 

7th Position. —Kneel on right knee, left hand at 
A f right at C, both arms in a vertical position above 
head ; flag hanging down ; eyes down ; 8 counts. 

8th Position. —Rise ; hold flags in same position 
as when kneeling ; eyes forward ; 8 counts. 

9th Position .—Right foot diagonally forward with 
some emphasis; left hand on hip; right arm 
straight upward to the right, flag held vertically; 
body bent slightly forward ; eyes looking up at flag; 
8 counts. 

10th Position .—1 and 2, 3 and 4, 5 and 6 lines, 
with left hands still on hips, right arms holding flags 
aloft, face each other and cross flags at A f forming 
3 arches ; stand thus through 8 counts. Remember 
all positioyis must be taken on 1, and remain through 
8 counts. 


MUFF AND GUN DRILL. 


79 


MARCH. 

The centre arch, which is led by 3 and 4, stand 
still. 1 and 2, 5 and 6, lead their respective lines 
under their own arches to the rear of room, as in¬ 
dicated by arrows ; 7 and 8 falling in behind 1 and 
2; 11 and 12 behind 5 and 6, etc. Upon reaching 
D and E, 1 leads to the right, followed by 2, 7, 8, 
etc.; 5 leads to the left, followed by 6, n, 12, etc. 
At F, 1 and 5 lead their respective lines under the 
centre arch, separating at G, 1 and 2, now marching 
to the right, side by side; 5 and 6 to the left, side 
by side, cross flags, and march down to their places, 
forming again the 3 arches. As soon as 1 and 2, 5, 
and 6 lines have reached their places, 3 and 4 lead 
their lines under their own arch to the rear of the 
stage; they separate at G , 3 leading her line down the 
right-hand arch, 4 leading down the left-hand arch; 
3 and 4 meet at F, and stop at their respective 
places. As each couple reaches its place, they cross 
flags for their followers to pass under, forming again 
3 arches. 

At a given signal all lower their flags, carrying in 
front of right shoulder, and turn to left: 1 leads 
her line 2, 3, 4, 5, 6, round behind 7, 8, 9, 10, 11, 12, 
who fall in behind 1st line, and march round behind 
18, 17, 16, 15, 14, 13, who join 1st and 2d, and march 
round behind the next line, etc., until the rear of 
stage is reached; then march off. 


Muff and Gun Drill. 

By Jay Bee. 

MOTION FOR THE DRILL. N 

Music : “ Reuben and Cynthia.’* 

I. Children to stand so that a boy is next to a 
girl; he to take a gun, and she, muff in right hand ; 
his left hand at side, and her left hand on left hip. 



FANCY DRILLS AND MARCHES. 


So 


Both right hands up four times, on toes. 

“ “ “ out from shoulder four times 

Right foot stamp out. 

Both right hands down toward knee, four times. 

Then I up right hand as before on toes. 

i out “ “ with stamp, 

i down “ “ and 

i up “ “ 

The entire motion to be repeated with gun and 
muff in left hands. 

II. Guns and muffs in right hand. 

Both, 4 times out from the level of the eyes. 

4 u “ right shoulder as in shooting. 

Alternate twice ; then repeat with left hand. 

III. Boys drop back one step and hold guns as if 
aiming, while girls with frightened faces hold left 
hand at waist and muff from right shoulder to waist, 
quickly slipping left hand in muff and out, four 
times; then repeat with right hand at waist, and left 
hand holding muff, etc. 

Change music to “ Cornin’ Thro’ the Rye.” Chil¬ 
dren to take one step forward, then one step back, 
as slow waltz; the guns and muffs each in right 
hand. The girls raise muffs coquettishly to right eye, 
while boys hold guns across eyes and peep over mis¬ 
chievously; then each girl takes a boy’s right arm, 
and forming in line two by two, slowly march off 
stage to the same music. 


Cane Drill. 


A SERIES OF MOVEMENTS FOR BOYS. 

By Clara J. Denton. 

(The canes used in this drill should be small and light, of uniform size, but dif¬ 
fering in heads and general finish. They should be decorated by tying narrow 
ribbons of various hues and tints around the top of each cane. A more pleas¬ 
ing effect will be obtained if the performers are of the same height. If a large 
ciass is to take part in the drill, they may be divided into companies, selected ac¬ 
cording to height. 

The drill should be given with music, the motions, of course, keeping time with 
k. Any pleasing “ two four” tune may be played. 

In giving the drill the commands should be so loudly spoken that the audience 



. THE CANE DRILL. 


8i 


Can hear them; they will thus understand more fully the meaning of the several 
movements. The boys should wear neat suits of black, as nearly alike as possible 
in general style and arrangement. There are in all twenty-three commands, as 
given below.) 

1. At Rest. 

2. Attention. 

3. Salute. 

4. Curiosity. 

1 5. Satisfaction. 

6. Discussion. 

7 Disagreement. 

8. Angen 

9. Dismissal. 

10. Meditation. 

11. Relenting. 

12. Indecision. 

The boys should march in to lively music, either 

in single or double file, according to number en¬ 
gaged. In marching, the canes should be carried in 
the right hand and used as in walking, touching the 
floor at every step. Let the tap of the canes be in 
perfect unison. Where the stage and class are both 
large, a pleasing effect may be obtained by forming 
the boys into companies of six, arranged in a semi¬ 
circle, two abreast. But if the class is small, let 
them take their places in a line across the front of 
the stage. 

1. At Rest .—Head erect, feet in military position. 
Left hand at side, right hand at side and loosely 
clasping the cane at its centre. 

2. Attention .—Chin close to neck, eyes front, feet 
as in foregoing (which position they retain through¬ 
out the drill, except where otherwise ordered). Shift 
right hand to head of cane, take tip of cane in left 
hand, and hold the cane horizontally across the body, 
as low down as the length of the arms will permit. 
The hands should clasp the cane with the backs up¬ 
permost. 

3. Salute .— Raise arms, extended, until level with 
shoulders; touch cane to forehead, throw hands, 
still grasping cane, out quickly. 


13. Decision. 

14. Waiting. 

15. Surprise. 

16. Secrecy. 

17. Indignation. 

18. Denial. 

19. Consideration. 

20. Reconsideration. 

21. Appeal. 

22. Reconciliation. 

23. Au Revoir. 


8i FANCY DRILLS AND MARCHES.’ 

* A 

4. Curiosity. —Bring cane back to face and hold 
it just below eyes, so that they seem to peer over it; 
bend body slightly forward. 

5. Satisfaction. —Drop left hand at side, right hand 
still holding head of cane ; place cane in slanting 
position across the breast toward right shoulder; 
head inclined to right; face smiling. 

6. Discussion. —Thrust cane under right arm, let¬ 
ting the head protrude a few inches; palm of left 
hand outstretched, index finger of right hand laid 
thereon, face earnest. 

7. Disagreement. —Quickly shift cane in same po¬ 
sition to left arm, and bring the two fists together 
quickly, body bent slightly forward. 

8. Anger. —Grasp head of cane quickly and strike 
the point emphatically on the floor. 

9. Dismissal. —Grasp head of cane with position of 
the hand reversed ; that is, the back thereof on the 
inside, or toward the body; throw the arm out 
swiftly ; facial expression stern. 

10. Meditation. —Bring the cane back slowly and 
lay the point in the palm of the left hand ; then 
lay the head of the cane in the right palm in the 
same way, and by motions of the fingers slowly roll 
the cane back and forth in the hands; head slightly 
bowed ; eyes downcast. 

11. Relenting. —Close right hand around head of 
cane, drop left hand at side, and let the cane fall 
very slowly until its tip touches the floor; head 

* and eyes as in foregoing. 

12. Indecision. —Extend right foot and, with the 
tip of the cane resting thereon, slowly move the cant 
back and forth; sway the head gently and move 
the eyes about. 

13. Decision. —'Take cane from toe, draw foot back, 
extend the arm on a line with the shoulder, and 
then bring cane down firmly; head erect, chin 
close to neck, eyes front, face firm. 

14. Waiting. —Right hand laid on top of cane, 
which is held in front of body with tip resting 


THE CANE DRILL. 83 

lightly on the floor, left hand laid on right (back up), 
head slightly inclined ; whole attitude easy. 

15. Surprise. —Drop cane on floor suddenly; re¬ 
cover immediately by catching cane around the 
centre. 

16. Secrecy.— Retaining same hold of cane as in 
foregoing, hold it up on the left side of the mouth, 
letting it lie slanting across the face. 

17. Indignation .—Retaining same hold of cane, 
place it firmly on right shoulder, so that the head of 
the cane is back and the tip well forward ; throw 
the head and shoulders back, and raise the chin 
slightly. 

18. Denial. —Turn the cane over quickly, bringing 
the head down firmly on the floor; performers 
shake heads slowly. 

19. Consideration. —Hold the cane near the tip, 
and swing slowly back and forth; head inclined to 
right, eyes downcast. 

20. Reconsideration. —Reverse cane quickly, hold¬ 
ing it at head; then repeat directions given in 
No. 19. 

21. Appeal. —Extend both hands with the palms 
upturned and the cane laid on them, both hands 
being near the middle of the cane; raise them 
to nearly the level of the shoulders; eyes upturned. 

22. Reconciliation. —Still holding the cane in both 
hands, turn the tip toward the breast, the head ex¬ 
tended, as if offering it to some one ; head slightly 
;inclined; face smiling. 

23. Au Revoir. —Reverse cane, taking head in 
right hand; touch hand to lips and make swift, out¬ 
ward motion. 

When the performers turn to march out each one 
must take the tip of his cane in his right hand and 
lay the head thereof on the shoulder of the one in 
front of him, holding it there until they are all off 
ihe stage. 


04 


FANCY DRiLLS AND MARCHES. 


The March of the Red, White, and 

Blue. 

By M. D. Sterling. 

i 

Any number of little girls divisible by three (pro¬ 
viding the quotient is an even number) may take part 
in this exercise. They should wear red, white, and 
blue gowns made with short plain waists, full skirts 
and sleeves; close-fitting Puritan caps of the same 
color and material as the dress worn should com¬ 
plete the costume. Cheese-cloth is an inexpensive 
and effective material from which to make the gowns 
and the caps. One third of the number of children 
wear red, one third white, and one third blue. En¬ 
trance is made by threes, “ red, white, and blue ” 
coming in together, to the tune of “ Yankee Doodle.’* 
Places are taken in rows of three each, one behind 
another, as in Fig. I, the letters standing for the 
colors. 

T.£. i« 

R W B 

R w a 

R W B 

R v/ B 

r w e> 

r w a 

When all are in place, first, third, and fifth rows 
face right , while second, fourth, and six throws face 
left . The alternate rows now march around each 
other, as indicated in following diagram, repeating 


THE MARCH OF THE RED, WHITE, AND BLUE. 8$ 

the movement as many times as seems desirable be 
fore taking taking position again, (Fig. 2). 


T-4 * 



Those in the column of blues, headed by the girl 
on right of front row, now march front , to the right % 
backward , left , to the front again , right , and form a 
line right front of platform. As soon as the end of 
the blue column comes to the front at beginning of 
march, the leader of the white column will march, 
falling in behind the last of the blue column. Those 
in the red column fall in directly after the white 
column. When the movement is completed, a long 
row of children, one third in blue, one third in white, 
and one third in red will be ranged along front of 
platform (Fig. 3). 



■RRRRKR \/Vw , w r wV'i3&&BBB 


The children mark time to the music, throwing 
out left and right feet alternately. Then, the lead¬ 
ers of the red and the blue march obliquely backzvard 
until they meet each other at a point on a line with 
the middle of the white row. The last one in the 
red row will halt just behind the girl on left of white 
row, while the last child in the blue row will halt 


86 


FANCY DRILLS AND MARCHES. 


behind the extreme right oi white row. This move' 
merit forms a triangle (Fig- 4 )- 





*.* 

R • 0 

* : © 

^ : 0 

R ! Q 

f : 8 

vJ W 'yv7 W vj 


The reds now march, following their leader to the 
left , forward, to the right, and into line directly in 
front of the whites. At the same time the blues 
close in behind the whites, when the rows will be 
arranged as in Fig. 5. 


® 0 s s & 3 

V W 

R R 1\ K 


The blues now fall back, stepping in time to 

0 8s 13 3 3 
w 
v/ 

V 

w 

w 

W 

R *** 


R 


music and keeping a straight line. At the sara* 


THE MARCH OF THE RED, WHITE, AND BLUE. 87 


time, the reds step forward and range themselves in 
a semicircle, curving outward. When the blues 
and reds are in position, the leader of the whites 
inarches to a place directly back of the centre of the 
red semicircle; the others in white row form a 
straight column behind the leader. The completed 
movement will make Fig. 6. 

The whites now range themselves in front of the 
blues, while the reds fall back into line in front of* 
the whites. In this position the children make a 
low bow, then march and countermarch by threes 
fred, white, and blue together) while they sing as 
r ollows to the music of “Yankee Doodle”: 

Here we go, red, white, and blue, 

The best of colors wearing— 

The colors of our country’s flag, 

In whose love we are sharing. 

Red, white, and blue ! Red, white, and blue 1 
Tell out, tell out the story— 

We wear the colors of our flag, 

Our country’s pride and glory ! 

[Exeunt, singing. ] 


83 


FANCY DRILLS AND MARCHES. 



iT'TeK 


n>Biu, 


By Frances L. Allison, 

Suggestions. 

This drill may be used for twelve little girls, aged from Bix 
to fourteen years. 

The sifters should be the old-fashioned round one with 
wooden rims, the smallest size made. Or, if a sufficient num¬ 
ber of these cannot be had, let the older girls (four or six) have 
sifters of a size larger. 

Each girl should have a white cooking 
cap, white sleevelets, and a plainly 
hemmed white apron. Blue gingham and 
pink gingham dresses should be worn, the 
former by fair-haired girls, the latter by 
dark-haired girls. 

A little drilling should be given every 
day, for several weeks. Two or three 
figures each day are enough. They should 
be slowly but thoroly learned, giving the 
slowest child ample time to learn the fig¬ 
ures and the order in which they come, 
so that by the time the last figure is 
given they should be able to begin at 
the first and give the drill without the 
atecher giving one command. Chords 
should be the only signal. The exercise 
is much more enjoyable when given in 
Vhfo way, and is perfectly practicable. 










SIFTER DRILL. 89 

A well-marked piece of music should be used, but not neces¬ 
sarily the same that is used for the marching. 

In third verse of “ Can you make a loaf of bread ? n when 
the child sings the reply telling where she has learned the rule 
for making bread, let her sing the name of her own school. 
This will please the children very much. 

The cooking song can be made very much more entertaining 
oy keeping the sifters down at right hand until they come to 
the last word of each verse. At the last word of the verse 
bring sifters to front and hold with both hands as tho ready to 
sift flour. Then while singing chorus the girls look down at 
sifters and keep time to music by moving sifters from right to 
left. At fourth and eighth lines of chorus, the sifters should 
be moved quicker than at other lines. At last word of chorus, 
sifters are placed back at the sides. 

The number of counts that should be given to each figure 
must be left to the discretion of the teacher. Eight or twelve 
counts should be given to some of them. For instance : Ex - 
pedation : At one, two, put out right foot; at three, four, bend 
body slightly forward and towards the right; at five, six, 
raise the sifter to position above eyes ; eleven, twelve, sifters 
back to sides, and at same time bring right foot back to posi¬ 
tion. 

The teacher should use the rules of this drill as a foundation 
only. Her own ingenuity will permit such alterations as will 
adapt it to her own use. 


Order of Marching. 

Partners enter on opposite sides of stage carrying 
sifters in right hands. March along back to center. 
Pair, march to front and separate, one girl going to 
right, the next to left, the third to right, etc. Turn 
square corners at front, again at back corners of stage, 
march along back to center and join partners. March 



90 


FANCY DRILLS AND MARCHES. 


front again as before, then to center of back. Join 
partners, march to front, separate and form two rings. 
Wind. Unwind. Meet again at center of back. First 
couple move to the front two steps and form arch by fac 
ing and putting up sifters. Second couple pass under 
arch made and stand next to first couple, putting up 
sifters also to form arch. Other couples follow suit. 
When last couple to pass thru has marched to position, 
the first take down sifters and march thru archway to 
front of stage, second couple following, and so on. Form 
arch twice. When the arch has been formed the second 
time, and the last couple has taken position at the end of 
the line and at the front of stage, have two chords 
struck on the piano. At the first chord sifters drop 
down to sides, at second, face to front. 

First little pair of girls (smallest girls should be at the 
front) sing, one the question and the other the answer of 
the first song given below, after which they march to op¬ 
posite corners of the stage and take position near the 
front ready for drill. Second couple sing second verse 
and march to front, completing first row. Third couple 
sing third verse and march to opposite sides of stage, 
taking position directly behind first couple who sang. 
Other couples sing and fill in the rows until all are in 
position for drill. 

►song.—C an You Make A Loaf of Bread ? 

(Tune, Billy Boy.) 


. 

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4— 


=-T7~#— d 


Can you make a loaf of bread. Lit - tie 






















SIFTER DRILL. 


9i 




maid, lit - tie maid ? Can you make a 



loaf 


of bread, 


Lit - tie maid - en ? 


1 


:e 


j£ 


-9- 


I can make a loaf of bread, Just the 


$ 


way my teach - er said, 


If 


am 



Will you tell me how it’s done 
Little maid, little m aid? 

Will you tell me how it’s done, 
Little maiden ? 

Yes, I’ll tell you how it’s done, 
And I think it’s lots of fun, 

If I am but a very little maiden. 


Tell me where you learned this rule, 
Little maid, little maid, 

Tell me where you learned this rule, 
Little maiden. 

Why, my dear, I learned the rule 




















































































92 


FANCY DRILLS AND MARCHES. 


At the dear old cooking school, 

Tho you see I’m a very little maiden. 

May we learn to do this too, 

Little maid, little maid ? 

May we learn to do this too 
Little maiden ? 

Yes, of course, you may learn too, 

Come with us, why shouldn’t you ? 

To our school where they teach each 
little maiden. 

Chord —6th couple (two largest girls in the center of 
back row), at chord, turn back to back then march to 
sides of stage, along outside of rows, turn square corners 
at front and march to position in the center and a little 
in advance of first row of girls. 

Recitation. 

First girl: 

I’m heartily tired of cooking, 

And trying so many to please ; 

I wish we could breakfast on berries, 

And dine on the fruit of the trees. 

How nice if we lived like the squirrels, 

That gather in autumn their store, 

That hide when the snowflakes are falling, 
And sleep till the winter is o’er. 

I think of the pretty canaries 
That sing in their cages all day, 

While I am so constantly busy, 

I’ve scarcely a moment to play. 

I’m tired of lighting the fire. 


SIFTER DRILL. 


92 


•v 


■X 


And making the coffee and tea, 

Of peeling and washing potatoes— 

It never was pleasant for me. 

Tm tired of roasting and boiling, 

And frying and baking the meat, 

Of making the biscuits too heavy, 

And making the puddings too sweet. 

Recitation. 

Second girl (interrupts in a surprised, indignant tone) 
saying : 

Why, what in the world are you saying ? 

To murmur like that is a sin ! 

You had better a new leaf turn over, 

And on a new page begin. 

Just try to remember the lessons, 

You learned at the dear cooking school. 

For everything there that they taught you. 
They always give you a rule ; 

And if their directions you follow, 

Your cooking will then be complete, 

Your biscuits will not be too heavy, 

Your pudding will not be too sweet. 

First girl replies: 

“ Thank you. That is good advice. I believe I will 
take it.” Then they march back to positions in back 
row. 

Drill. 

Salutation —Right foot forward in front of left; raise 
sifters to erect position on left shoulder by right hand. 


94 


FANCY DRILLS AND MARCHES. 

As the sifter is being raised to the left shoulder, raise 
the left hand and strike sifter three times, dropping left 
hand down to side again. Position (both hands down at 
sides). 

Expectation —Raise sifter slowly with right hand to a 
position just above the eyes. While raising sifter, bend 
the body slightly forward, left hand down at side. Body 
should be turned to the right, and right foot in advance 
of the left. 

Alertnesi —Raise sifter slowly to position back of right 
ear with the right hand, head turned toward the left, 
Left hand down at side. Attitude that of some one lis¬ 
tening. Position. 

Cooking Song. 


1— 

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We’re a class of cooking girls, Learning to make bread; 


zM— :q 

N —f -*-J— 

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We’ll fol-low all the rules, And do as teach-er said; 



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Mer-ri - ly our voi-ces ring, Mak-ing spir-its gay; 







A^ 9 k A 1 


V 

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p_p 

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tr 

V i 



1 

ss 

X J— 

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1/ U 1 1/ 

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What fun it is to work and sing, A 


Chorus. 



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1 - *1 



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a. j. l. r 

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9 9 0 

c ? *- 


lZ ^ y □ 


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cook-ing song to - day. Sift-ing flour, sift-ing flour, 









































































t 


SIFTER DRILL. 


95 



Sift with all our might, Oh, how nice it 



n ——-- 

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- V 

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J 


nr r 

m 1 1 

fzx c r r r. 

m 9 w a 



m — 

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is to have the flour ex - act - ly right, 


- 



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fn\ 9 9 9 

9 r ° 

9 ! , ' J m 

* • 1 J 

V\J /-*-»-- — ~ i ^ w -i 

SAL v - v --*-* u,-L y J 


Sift-ing flour, sift-ing flour, Sift with all our might; 



T ft 


m m . ~~rc 

zq 

7 

9 9 m • m 

0 m ^ • a 

9 9 m M 

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Oh, how nice it is to have the flour ex - act • ly right. 


At night we set the sponge, 

Take water, salt, and flour, 

And stir in with them yeast— 

Be sure it is not sour. 

Then mix and knead it well, 

And when you’ve got it right 
Then place it near the fire, 

So that it may grow light. 

Chorus: 

We’ll rise at break of day, 

When sponge has grown quite light* 
And knead and knead it well, 

Until we have it right. 

Next mold when raised again, 

In the pan it then must go, 

One parting touch we add, 

At last we leave it so l 


Chorus: 





















































96 


FANCY DRILLS AND MARCHES. 


Triumph —Both arms held high above head, sifter in 
right hand, left hand closed in a fist as tho about to 
strike, body bent slightly backward. 

Clash —Strike four times the wooden rim of the sifter 
with closed fist. t 

Gossip —Girls in two inside rows move two steps 
toward girls on outside rows (sides of course). Raise* 
sifters with right hand to right side of face, face each 
other, motioning lips as tho gossiping. Heads near to¬ 
gether. Position. 

Anger —Girls in two middle rows again move nearer 
girls on outside rows. Stamp right foot, raise sifter with 
right hand and shake at each other. Then turn back to 
back. Position. 

Sorrow —Girls on outside rows move one step nearer 
girls in the two middle rows. Kneel on left side, cross 
arms over sifter and bend head over sifter as tho deeply 
sorry. 

Forgiveness —Girls standing show signs of relenting in 
face, bend bodies forward, place right hand on head of 
kneeling ones. Pleasing smiles and looks of recognition 
pass between them. Those kneeling rise. 

Friends —Slip arms around each other’s waists, with 
happy looks on faces. (Count four.) Step back to posi¬ 
tion. { 

Weary —Right elbow supported by left hand, head 
leaning to right and resting on sifter which is held in 
right hand. Eyes closed. 

Rest —Right foot forward, knee slightly bent, sifter 
pressed against breast with both arms crossed over it. 
Head bent forward, eyes closed. 

Awake —At tap of bell all unclose eyes. 


SIFTER DRILL. 


91 

Good-bye - Right foot forward, knee slightly bent; rise 
slowly on tip-toe. While raising body raise at same time 
right hand, placing finger-tips on lips (sifter for this 
figure should be held in left hand). After placing fingers 
on lips then give a graceful wave with right hand to 
audience (counting all the while) and bring hands back to 
position at sides. 

Final March. 

At chord, leader of single file leads off, partners falling 
into line, one behind the other as usual. Form a circle, 
each girl extends sifter with right hand, and girl in front 
takes hold of sifter with left hand. Wind. Unwind. 
March off stage. 








93 


fANCY DRILLS ANU MALI'S. 


A Fancy Scarf Drill 

By A. Alexander. 

This “ Scarf Drill ” will be found a very pretty, 
graceful, and at the same time exceedingly beneficial 
set of exercises for girls. The scarfs may be made of 
calico, silk, or muslin, and should measure about three 
feet in length, and be of various colors, according to 
the taste of the teacher. The exercises are princi¬ 
pally performed in pairs. The pupils, therefore, she:»M 
be marched on in double lines, as in Fig. I. 

Waltz : “ Daughter of the Regiment." 


(To be played rather slowly.) 


































































A FANCY SCARF DRILL. 




/. Words of Command: “ Attention/' “ Behind the 
Back,” “ Front," “ Raise 
Right Arm and Advance 
Left Foot." 

At “ Attention " bring 
the heels together, body 
erect, head and shoul¬ 
ders well back ; shorten 
the scarf by holding it in 
double lengths. (Fig.i.) 








Fig, a. 


Fig. t. 

At M Behind the 
h ac\ " release the 
double fold into 
the full length, and 
throw the scarf 
over the head. 
(Fig. 2.) 

At “Front" 

bring the scarf 
over the head to 


the waist again. Eight bars of the waltz music 
are played. 

II. Words of Coni' 
mand: “Raise Right 
Arm and Advance 
Left Foot," 

“ Change." 

At the first word of 
command raise the 
right hand above the 
head, bring the left 
hand slightly to the 
rear of the left side p jg ^ 






IOO 


FANCY DRILLS AND MARCHES. 




Fig. 4- 


at the same time advance the left foot to the front^ 
pointing the toes downwards ; the face should b e 
upturned to the right hand, the head being thrown 
well back. (Fig. 3.) 

At 44 Change," the 
position of “ Atten¬ 
tion* should be as¬ 
sumed for a moment, 
and then spring out 
with the right foot,rais¬ 
ing the left arm above 
the head, looking 
at the left hand, point- 
ingtheioot downwards 
(Fig. 4), thus reversing 

the attitude of Fig. 3. Sixteen bars of the waltz are 
played. 

III. Words of Command : “ Shorten Scarfs," “ Face," 
M Throw." 

At “Shorten Scarfs," the 
scarf should be quickly 
folded and held in the right 
hand, one end being firmly 
held, the other loosely and 
ready to throw. At the word 
“ Face," the pupils' face each 
other as in Fig. 5. At the 
“ T h ro w," each p u p i 11 
“ throws one end," of her 
scarf towards her partner's left hand ; both part' 
ners catch the end of the scarf thus thrown to 
wards them with the left hand. (Fig.6.) This move¬ 
ment should be made with the body as erect as pos* 
sible, without any bending forward or getting out oi 








A FANCY SCARF DRILL. 


lor 


position. The partners also should be of equal height 
as far as possible, in order to increase the general 
effect of the movements. 




IV. Words of Com¬ 
mand : “ Above the 
Head,” “ Outwards 
Bend,” “ Rise.” 

Standing with the 
arms at the sides at 
the word of com¬ 
mand “Above the 
Head,” the pupils 
Fic. 6. should raise their 

arms outwards and above the head until the hands 
meet, arms to be kept very stiff and body erect.(Fig. 7.) 

At “Outwards 
Bend,” the arms 
should be separ¬ 
ated outwards, and 
when level with the 
shoulder the knees 
should be kept stiff, 
bending from the 
waist only. (Fig.8.) 

At the word 
“ Rise ” the pupil 



should assume the erect position, and repeat the 




















102 


FANCY DRILLS AND MARCHES. 


exercise. The waltz music should be played until the 
movements are finished. 

V. Words of Command: “Swing above the Head/* 
“ Right/’ “ Left.” 

Starting from the position of “Attention,” and at 
the words of command “ Swing Above the Head— 
Right/’ swing the arms simultaneously upwards and 
above the head to the right end of the room, with the 
feet kept together, the arms stiff, the head thrown 
back, looking up to the upraised arms. (Fig. 9.) At 
the word “ Left ” swing the arms downwards past the 



waist and upwards to the left side of the room. (Fig. 
10.) This movement must be made with the arms 



alone, the body remaining erect. Sixteen bars of Ibfc 
waltz are played. 















A FANCY SCARF DRILL. 


to$ 



VI. Words of Command i 
“Bend Sideways—Right/' 
w Left.” 

At “Bend Sideways— 
Right,” the pupil bends side¬ 
ways from the right side of 
the room, at the same time 
raising the arm nearest to 
that end above the head, as 
in Fig. II ; the head should 
be turned upwards, the pupils 
looking upon the upraised 


arms. At the word “ Left,” 
the position should be re¬ 
versed by lowering the up¬ 
raised arms and raising up 
the others at the other 
side, bending from the 
waist in the reverse direc¬ 
tion. (Fig. 12.) The feet 
should be kept together 
and the arms stiff in this 
movement. Eight bars of 
the march are to be played. 

MARCH. 



Fig. 12. 


(To be played boldly, but not quickly.) 






























































































164 


FANCY DRILLS AND MARCHES. 




At “Raise 
Arms,” raise the \ 
arms from the 
side until they 
are forwards and level with the shoulders. (Fig. 13.) 

At the word “Backwards,” bring the arms outwards 
and backwards until the position of Fig. 14 is reached. 
At the word “Forwards ” bring the arms to the front 
in the position of Fig. 13 again. It is important that 
in this movement the arms alone should be moved, 
the rest of the body being kept rigid and erect, with 
the heels fixed firmly together. The arms should, 
during the exercise, be kept level with the shoulders. 
The march music should be played. 

VIII. Words of 
Command: u Left 
Foot Forward/' 

“ Extend Arms/' 

“ Forwards,” 

“ Backwards.” 

At “ Left Foot 
Forward” bring 
the left foot for¬ 
wards at right angles, the left knee bent. At 44 Extend 
Arms the arms should be raised and extended out¬ 
wards, in a line with the shoulders, as in Fig. 15. At 
borwards,' one pupil will lean forwards, at the same 
time bringing the arms to the front ; the opposite 


VII. Words of 
Comma?id : 

41 Raise Arms,” 
44 Backwards,” 
“ Forwards.” 










A FANCY SCARF DRILL. 


*°5 





pupil will lean backwards, bringing her arms to the 
rear as much as possible. (Fig. 16). At “ Backwards/' 



the pupils will reverse their positions. Play sixteen 


bars of the march. 

IX. Words of Com¬ 
mand : “ Charge Side¬ 

ways—Right/’ “ Recov¬ 
er/’ “ Left/’ “ Recover," 
“Forwards," “ Recover." 

At “ Charge Sideways 
—Right," the pupils step 
out to the right end of the 
room, their feet at right 
angles, and advanced 
knee bent, the other leg 
kept stiff; one hand 














FANCY DRILLS AND MARCHES. 


io6 


should be raised above the head, the eyes looking 
upon the upraised scarf. (Fig. 17.) 

At “ Recover,” assume the position of “ Attention.” 
At “ Left,” the pupils will step out to the left side of 
the room with the other foot, and raise the other hand. 



At “Recover,” again 
assume the position of 
“Attention.” At “For¬ 
wards,” each pupil will 
advance forwards with 
the right foot, at the 
same time raising his 
arms outwards and 
above the head, as in 
Fig. 18. At “ Recover,” 
drop the arm and 
close the heels. Play sixteen bars of the march. 

X. Words of Command: “Charge Forwards—Right,” 
“ Recover,” “ Left.” 

At “ Charge Forwards—Right,” the pupils will ad¬ 


vance right foot forwards towards each other, the feet 



to be at right angles, the advanced knee bent, the left 
leg kept straight. 1 he right hand should be raised 
ab®ve the head, the left down by the side. (Fig. 19.) 




A FANCY SCARF DRILL. 


107 


At “ Recover,” resume the position of “Attention/' 
At “ Left/’ advance the left feet forwards towards 
each other, bending the left knee, keeping the right 
leg straight, feet at right angles as before. Raise the 
left hand above the head, keeping the right down 
by the side, the head thrown back. (Fig. 20.) 



At “Recover,” again assume the position of 44 At¬ 
tention.” Play eight bars of the march. 

XI. Words of Command: “Ready,” “Through/* 
44 Above the Head,” “ Down.” 

At “ Ready,” the pupils will raise the arms, which) 
are opposite to each other, above the head. (P'ig. 21 ) 



At “Through,” they will pass under the upraised 
arms, and bring both arms to sides, coming back to 

back, as in Fig. 22. 









FANCY DRILLS AND MARCHES. 


lo8 




ways from the right side of the room, at the same 
time raising the arms nearest to that end above the 
head. (Fig, 23.) 


At “ Above the Head,” the arms must be raised 
outwards and above the head, as shown in the dotted 
lines in Fig. 22. At “ Down,” the arms will be brought 


outwards and downwards until position of Fig. 22 is 
again reached. The body must be kept perfectly 
erect, and the arms alone moved in this exercise. 
Eight bars of march. 

XII. Words of Command: “Bend Sideways—Right/* 

Left.” 

At “ Bend Sideways—Right,” the pupil bends side- 














A FANCY SCARF DRILL. 


109 


The head should be turned upwards, the pupils 
looking upon the upraised arms. At the word “ Left/' 
the position should be reversed by lowering the up¬ 
raised arms and raising up the others at the other side, 
bending from the waist in the reverse direction. (Fig- 
24.) The feet should be kept together and the arms 
stiff in this movement. Play eight bars of the march, 



XIII. Words of Comma?id : 44 Shoulders—One,” 

“Two," ‘‘Three/’ 44 Four.” 



At “Shoulders— 
One,” raise the arms 
outwards until upon 
the shoulders. (Fig. 

25.)- 

At “Two,” thrust 
them vigorously up¬ 
wards until above the 
head, as shown in the 
dotted line of P'ig. 25. 
At “ Three ” bring the 
arms back again upon 
the shoulders ; and at 


‘Four,” thrust the arms vigorously outwards. (Fig. 26.) 














1X0 


FANCY DRILLS AND MARCHES. 


On reaching this latter position, drop the arms to 
the sides at once. Keep the body rigid, moving the 



arms alone ; keep heels closed together. Sixteen 
bars of the quick march. 


QUICK MARCH. 



XIV. Words of Comma?id: “ Charge Forwards— 

Arms Outwards,” “ Right,” “ Recover,” “ Left,” “ Re¬ 
cover.” 

At “ Charge Forwards—Arms Outwards ” the pupils 
step forwards with the right foot, keeping the feet a* 
right angles, and the advanced knee bent, the other 
leg kept stiff ; at the same time the arms must be 

















































A FANCl SCARF DRILL. 




til 




raised outwards until level with the shoulders. 
(Fig. 27.) 

At “ Recover," close the 
heels, and bring the arms to 
the sides. (Fig. 28). At 
“ Left," again step out for¬ 
wards, this time with the left 
foot, and raising the arms as 
before. At “ Recover," again 
come to the position of Fig. 
27. Eight bars of the march 
music. 


XV. Words of Com¬ 
mand : “ Charge 

Sideways—Right," 
‘‘Recover," “ Left," 
“ Recover," “ For¬ 
wards," “Recover." 

At “Charge Side¬ 
ways—Right," the 
pupils step out 
to the right side of 
the room, bending 














FANCY DRILLS AND MARCHES. 


1*2 

die advanced knee, keeping the other leg stiff and the 
feet at right angles; at the same time raise one arm 
above the head, and look up, as in Fig. 29. 

At “ Recover,” close the heels and bring the arms 
to the sides. At 44 Left,” perform the same movement 
in the opposite direction, with the reverse arms and 
feet. At “ Recover,” again close the heels. At “ For¬ 
wards,” the pupils step out forwards, with upraised 
arms, as in Fig. 30. At “ Recover,” again close the 
heels and drop the arms to the sides. Sixteen 
bars of the march. 



XVI. Words of Com?nand : 44 Face,” “ Raise Scarfs,” 
f Disband.” 

) At 44 Face,” the pupils face each other in two lines- 
At the words “ Raise Scarfs,” each pupil throws one 
end of her scarf towards her partner’s left hand, and 
each pair will raise the scarfs above their heads, mak¬ 
ing an archway down the lines. (Fig 7.) If the lines 
are too close together, a step to the rear should be 
taken by one, or both lines, as the scarfs are raised 
above the head. At “ Disband,” the first pair will 
drop their arms to the sides, and making a half-right 






A FANCY SCARF DRILL 


turn, walk under the archway of raised scarfs, and, on 
reaching the end of the line, march off. The next 
pair will follow, and so on until the end of the line is 
reached, when the last pair will drop their arms and 
march away together. This may be varied by each 
pouple “ Halting,” after passing under the archway 
and marking time ; and when all have passed through, 
the whole company will march away together. When 
the arms are dropped to the side, the scarfs should be 
quickly folded and held in the right hand during the 
march off. (Fig. 5.) 


FANCY DRILLS AND MARCHES. 


114 


The Fan Fairies. 


(A fancy drill for little girls.) 


By Ethel Powell Harris 


Much of the charm of this exercise lies in the dainty 
coloring of the dresses, in the strict “military” pos¬ 
ing, and in the statue-like rigidity of the tableaux. 
Music should accompany the movements and the 
singing throughout—the first melody serving for all 
the words. No commanding signals or words are 
given to the little people. Hence much of the suc¬ 
cess will depend upon the pianist, who should be skil¬ 
ful in changing smoothly and easily from the gay 
music of the marches, to the soft accompanying 
.chords for singing. 

First a dash of bright music ! Then—far away— 
the sound of little voices : 


Air, Old Song. 
























































The fan fairies. 


ns 

A hush. Four “ left—right ” chords from the piano 
and then, to the strains oi a pretty march, ten charm¬ 
ing little maidens step out upon the stage—five from 
each side. Advancing to the center of the stage, 
everyone bows to the one who comes from the op¬ 
posite side, and touching hands lightly, steps to her 
place on a line at the front. The first pair take the 
ends of the line ; the last the inner places. 

They are dressed alternately in delicate pink and 
exquisite green, the dainty gowns being made with 
“ baby waists ” and reaching quite to the floor. The 
fans match in color exactly. 

One chord from the piano,—fans are raised and 
held with both hands in front of chest. 

Two —fans open. 

Three —a slow, sweeping courtesy to the audience is 
made. 

Four —erect ; military position. 

Five (sing)—“ This is the way we tap our fans, tap 
our fans, tap our fans; this is the way we tap our fans 
when we wish your attention.” 

At the word “ tap/’ fans rise swiftly and tap palms 
of left hands in time to music. 

“ This is the way we wave our fans when we are glad 
and happy.” 

(The same music is used throughout and the words 
repeated as at first.)—Sparkling eyes, fans waved 
gaily to and fro. 

“This is the way we shoulder our fans when we go 
out a-marching.” 

Chord —face ; shoulder to snoulder, march to back 
of stage ; face again. 

Chord one —fans raised high above left shoulder ; 
faces turned and looking upward. 


FANCY DRILLS AND MARCHES. 


Chord two —fans opened fully. 
Tableau. 



Fig i. 


Chord three —position, fans on right shoulder. 
March to front. 

“ This is the way we flutter our fans, when we are 
gay and saucy.” Butterflies could not be airier, 
daintier. 

u This is the way we shake our fans when we are 
cross and naughty.” What change is this ! Brows 
wrinkled, eyes flashing, little feet stamping, fans 
shaken threateningly. 

Chord one —position, fans at side. 

Two —face, half to right, half to left. 

Three —march to back, joining hands, returning 
down center, to position on line. 

Four —numbers 3 and 4, 7 and 8, step back thus : 



Five —I, 3, 5, 7, and 9 change . fens to left hand ; all 
open at side. 

Six —“ Minuet ” courtesy ; ten little grandmothers 
have stepped out of the 44 'ong ago ! ” (Tableau.) 




THE FAN FAIRIES. 


Ilf 



Fig. 2.—“ Little grandmothers stepped down from the long ago.” 

Seve?i —turn, fans shut. 

Eight —position on line. 

“ This is the way we hold our fans when we are sad 
*nd thoughtful. (Fig. 3,) 



Fi». 3. “ When we are sad and thoughtful.” 


This is the way we hide our fans, when we don't 
wish you to see them." All mischief again. Fans 
closed behind backs. 








FANCY DRILLS AND MARCHES. 


118 

“This is the way we use our fans, when we talk 
about our neighbors/' Little couples turn, open fans 
raised and crossed, bent heads indicating the gossip 
that is brewing. (Fig. 4.) 


/< Ffa 



Fig. 4. “When we talk about our neighbors.” 


Chord one —Position. 

Two —face ; march to back. 

Three —face again. 

Four —fans raised, with both hands, to front of 
chests. 

Five —fans opened. Six —raised to tops of heads. 
Seve?i —held open at front. Eight —march thus to 
front. 

“ This is the way we ?nend our fans when they are 
torn and broken." Anxious faces, fans half opened, 
little fingers flashing in and out as if mending. 

“ This is the way we spread our fans—our fans so 
neatly mended." Little figures drop to their knees» 
fans spread on the floor, faces expressing admiration. 

Chord —all rise. Then softly, dreamily,—“This is 
the way we sway our fans, when we are tired—and— 
sleepy.” Fainter and fainter, slower and still nv ~e 











THE FAN FAIRIES. 


ii 9 



slow, grow the little voices. Heads sleepily sway and 
nod with the fans. A tremor, asleep ! 

Then, quick as a flash, fans are waved rapidly to 
and fro. 

“ And now we think we’ll say 4 good-night,’ for— 
(spoken) really , we must be going ! ” Anxiety visible 
on all faces. 



4 























120 


FANCY DRILLS AND MARCHES. 


Chord one —face, half to left, half to right. 

Two —march to back of stage, down center, to pos¬ 
ition on line. 

Three —Numbers 2, 4, 6, 8, and 10 drop gracefully 
on their knees, fans spread downward at sides. I, 3 
5, 7, and 9 stand, holding closed fans above their 
partners’ heads. 

Four —fans opened. Tableau. 

Five —position. 

Six —face to right and left. March three times to 
back and down center, joining hands. The last time, 
the little “fairies” pass out at exits, kissing their 
hands to the audience as they go. The last two, the 
tiniest of all, step quite to the front of the stage, and 
with sweeping courtesy, smile,—“good-night!” 


t 



1 


4 


A DRILL WITH RINGS. 


iar 


A Drill With Rings. 

By Imogen A. Storey. 

(For very small children.) 

In order to make this drill a success it requires at 
least twenty-four children. These may be all girls, 
or an equal number cf boys and girls. 

For a national holiday entertain¬ 
ment the rings should be trimmed 
with red, white, and blue ribbons, and 
the suits are most effective made of 
white with bright red sashes, as shown 
in the illustrations. 

The rings are made of light, flex¬ 
ible wood (a carpenter or even an 
amateur can make 
them of barrel 
hoops). The regu¬ 
lar gymnastic rings 
could be used, al¬ 
though they are 
rather too broad 
and heavy for this 
purpose. If grace 
hoops are available they will ans¬ 
wer very well. We will suppose a 
stage is to be used, though a gym¬ 
nasium or school-room floor will 
answer the purpose. The floor 
should be laid off with a black line 
in order to insure straight march¬ 
ing and sharp turns at the corners. 

The black line should be far enough from the edge 
of the stage to give sufficient room for the movements. 

The entrance should be at rear as shown in Fig. A. 

The class enters by twos and marches (following 
black lines as shown in A) down center of stage. The 



i. 




FANCY DRILLS AND MARCHES. 


122 

ones on the line marked L using left foot and ones on 
line marked R using right foot; they skip, using the 
common skipping step familiar to any child, only add¬ 
ing this arm movement. As the right foot is in ad' 
vance, swing left arm over head and right hand on 
hip, as shown in Fig. I. Continue alternately 
Follow the lines as shown in A, turning sharp cor¬ 
ners in opposite directions as indicated by the arrows, 
and on reaching the rear corner, D S, the command 
M direct step ” (ordinary march step) is given. This 



a. 


command is given as the forward foot reaches the 
floor; the rear foot steps off with the march. 

The music for the skip step should be quick, but 
is now changed to ordinary march time. 

Numbers I and 2 are now marching facing each 
other, using one the left and the other the right foot, 
and both hands on hips. When the leaders reach the 
lines L and R, in Fig. B, the whole company halts, 
heels together, at command from teacher or else 
signal from piano. A distance of twenty inches should 




A DRILL WITH RINGS. 


123 


be kept from the one in front all through this drill. 

The fancy step is now begun, leaders turning on 
lines LR facing front. Swing andde foot diagonally 
forward knees straight, and touch toe to floor ; inside 
arm straight up beside head and grasp partner’s ring. 
Outside hand still on hip, as shown in Fig. 2 (1st 
count.) 

Forward, upward, bend inside knee, knee should be 
bent to a right angle, toe pointing to the floor. (2nd 1 
count.) 



4. 


Inside foot point touching floor (as in 1st count) for 
the 3d count. 

Advance the foot a little and place on floor chang¬ 
ing weight to it, and rear heel raised so that only the 
toe is on floor. (4th count.) 

Same beginning outside foot. (5th to 8th count.) 

The rings are placed one in front of the other so 
that each child grasps two rings. 

All take this step together forming by twos on 
reaching the lines L and R the same as the leaders. 





FANCY DRILLS AND MARCHES. 


124 

On reaching the black line in front they should sep¬ 
arate again, turning in opposite directions, placing in¬ 
side hand on hip. Continue same fancy step. (Fig. 2.) 

When leaders reach the points indicated in Fig. C, 
the whole class should be on these lines, with their 
respective distances between. The command or sig¬ 
nal is now given for a halt—all facing in direction 
that lines indicate, and arms down at side, palms in. 



s- 


I. 

Arms upward bend as in Fig. 3, signal. 

Inside arm straight beside head (1st count). 

Upward bend (2nd count). 

Straight beside head (3d count.) 

Upward bend (4th count). 

Repeat this with the outside arm (5th to 8th count), 

IT. 

Inside arm straight up beside the head (1st count). 




A DRILL WITH RINGS. 


12.5 


# 


Inside arm upward bend and outside arm straight 
beside head (2nd count). 

Outside arm upward bend and inside arm beside 
head (3d count). 

Inside arm upward bend (4th count.) 


REAR 



Repeat this, beginning with outside arm (5th to 8tt 
count). 


III. 


Inside arm straight forward shoulder high to the 
front, palms in (1st count). 

Upward bend (2nd count). 

Straight forward (3d count). 









136 


FANCY DRILLS AND MARCHES. 


Upward bend (4th count.) 

Outside arm the same (5th to 8th count). 

IV. 


Inside arm straightforward shoulder high (1st count), 

BEAR 



Outside arm upward bend and outside arm straight 
forward (2nd count). 

Inside arm upward bend and inside arm straight 
forward (3d count). 

Repeat, beginning outside arm (5th to 8th count.) 

V. 

Inside arm straight out to the side, shoulder high, 
palm to front (1st count.) 









A DRILL WITH RINGS. 


i '*1 


Upward bend (2nd count). 

Out at side, shoulder high (3d count). 

Upward bend (4th count). 

Repeat with outside arm (5th to 8th caunt). 

VI. 

Inside arm, shoulder high at the side 1st count). 

E&IT 



Upward bend and outside arm straight at side, 
shoulder high (2nd count). 

Outside arm upward bend and inside arm, shoulder 
h'gh at side (3d count). 

inside arm upward bend (4th count). 

Repeat, beginning outside (5th to 8th count). 









128 


FANG/ DRILLS AND MARCHES. 


VII. 

Arms straight forward, shoulder high, palms in (1st 
count). 

Upward bend (2nd count). 

Repeat (3d to 4th count). 

Arms straight beside head, palms in (5th count). 

Arms upward bend (6th count). 

Arms straight beside head (7th count). 

Swing arms straight forward and down at side (8th 
count). 

VIII. 

Charge diagonally forward with inside foot, inside 
arm diagonally forward, looking up through ring as 
in Fig. 4. 

Outside hand on hip (1st count). 

Heels together and arms straight down at side (2nd 
count). 

Fall diagonally back with the outside foot, outside 
arm curved over head and inside arm on hip, as shown 
in Fig. 5 (3d count). 

Heels together and arms down at side (4th count). 

Charge diagonally forward with the outside foot 
same as with the inside. Repeat this (5th to 8th 
count). 

IX. 

Charge straight to the side with the inside foot, in¬ 
side arm curved over head—outside hand on hip, out¬ 
side knee straight (1st count). 

Heels together and arms down at side (2nd count). 

Charge straight to side—outside foot—outside arm 
curved overhead and inside hand on hip (3d count). 

Heels together and arms down at side (4th count.) 

Repeat beginning with outside foot (5th to 8th 
count) bringing arms down at side on 8th count. 

The march is now resumed, marching to the black- 
line in front, as indicated by dotted lines in Fig. C. 
Cross in front of each other alternatingly. The march 
is changed to the skip step when the last couple 
reach the front black line. Continue the skipping 
und meet in the rear and exit by twos. 


CHRISTMAS STARS. 


U* 


Christmas Stars. 

-05 

Fancy Drill, Songs and Recitations for a Christ* 

mas Festival. 

By Lettie Sterling. 

Ten girls carry lighted candles in small silver-colored candlesticks. 
Hair combed high in graceful coiffure ; silver combs, to which are fastened 
silver or gilt stars made of pasteboard and covered on both sides with 
fancy paper. White Mother Hubbard dresses, trimmed with narrow strips 
of silver or gilt paper arranged in festoons, and rosettes of ribbon on left 
shoulder, from which hang long ends with silver or gilt stars attached. 
Large silver or gilt star on each breast. White stockings and slippers 
with silver or gilt stars fastened on toes of slippers. Large, five-pointed 
star marked on floor of stage, with one point toward audience. At the end 
of each march, girls pause on star as in Star Number One, holding the 
lighted candles in plain sight. Tallest girls stand on points. Smallest 
girls stand at corners. 

The directions are given to guide, but it is not necessary to follow them 
exactly, as they may be varied to suit circumstances. The recitations may 
be given to different numbers from those mentioned, if desirable. Let the 
girl who is to recite change places with girl on first star point by both 
passing each other at centre of star. They change back again, in the same 
manner, at close of recitation. 


I. 

1. Enter with candlesticks containing lighted 
candles in right hand. 

2. March around stage three times. 

3. Pause at back. Beat time with feet while 
waiting. 

4. March in serpentine course across the stage 


FANCY DRILLS AND MARCHES. 


130 

and back again until front is reached. March 
around to back and repeat. 

5. The girls stand in this order: 1, 2, 3, 4, 5, 6, 
7, 8, 9, 10. Tallest girls nearest centre, smallest 
at each end. Girls 5 and 6 lead down middle of 



&tage to front, 4, 3, 2, 1 fall in behind 5. 7, 8, 9, 
IO fall In behind 6. March in couples to front, 
separate and march across front, down sides and 
back to place, Repeat twice. 

6. March as in 5, but instead of meeting at back, 
pass each other and go all the way around the 
stage. Repeat twice and then stand in order 1,2, 
3, 4, 5, 6, 7, 8, 9, 10. 

7. Beat time a moment. Then 3, 4, 5, 6, 7 take 
four steps ahead, walking abreast. 1, 2, 8,9, 10 
fall in behind them, forming two rows, five abreast. 

8. While 3, 4, 5, 6, 7 beat time, 1, 2, 8, 9, 10 
follow 1 as she leads to corners of star as in Star 
Number Two. 

9. After 1, 2, 8, 9. 10 are in place, 3, 4* 5, 6, 7 


CHRISTMAS STARS. 


x 3 * 

follow 7 as she leads to points of star as In Star 
Number Three. 

io. In the completed star the positions are as in 
Star Number Four. 

This is the position for song “Christmas Bells,’" 
to be followed by recitation (No. 7 ’s part), “ Inso 
much.” 



II. 

1. No. 7 leads a march, in which their footsteps 
trac<k the outline of the star three times. Be sure 
to keep original distances so that star form is pre¬ 
served throughout. 

2. All on points follow No. 7 as she winds in 
and out in serpentine fashion about those standing 
at corners. Repeat twice. 

3. All standing at corners follow No. I as she 
winds in and out in serpentine fashion about those 
standing on points. Repeat twice. 

4. All standing on points follow No. 7 as she 
ieads to the left side of stage and forms a semicircle 
facing audience, 


132 


FANCY DRILLS AND MARCHES. 


5. All standing at corners follow No. 1 as she 
leads to right side of stage and forms a semicircle 
facing audience. 

6. No. 6 steps to centre of star and recites “ A 
Talk with Stars at Christmas,” and then steps back 
to place. 

7. No. 1 leads her line back to star corners. 

8. No. 7 leads her line back to star points. 

9. This is the position for song “ Bright Christ¬ 
mas Carols.” 


STAR NUMBER THREE. 



III. 

1. No. 7 leads a march to trace star form three 
times, the same as in 1 under II. 

2. No. 7 leads the girls on points to her left, and 
No. 1 leads the girls at the corners to her right. 
This march forms two moving concentric circles 
going in opposite directions. Points of star are 


CHRISTMAS STARS. 


133 


In circumference of outer moving circle which is 
marching to the left. Corners of star are in cir¬ 
cumference of inner moving circle which is march¬ 
ing to the right. March around three times. 

3. Girls at corners stand still. Girls on points 
march to the right, moving around the outer circle 
three times. 

4. Girls on points stand still and girls at corners 
march to the left, moving around the inner circle 
three times. 

At this pause comes the song “Merry Christ* 
mas.” 



IV. 

1. Repeat 1 under II. the same as 1 unde/ III. 

2. Let each girl on a point take for a partnef 
the girl at the corner on her right hand. The girl* 
on points must take long steps, the girls at corners 


*34 


FANCY DRILLS AND MARCHES. 


short steps. This will form two moving concen¬ 
tric circles going in the same direction. The point9 
are in the circumference of the outer circle and the 
corners in the circumference of the inner circle. 
March around three times, going to the right. 

3. Let each girl on a point take fora partner the 
girl at the corner on her left hand. Marching as 
in 2 to form two concentric circles moving to the 
left, let them go around three times, and then, 
leaving the star, let them march in couples all the 
way around the stage three times, and then back 
to places in star. 

4. Nos. 7 and 10 change places. No. 10 recites 
“The Brightest, Gladdest, Sweetest.” 

5. No. 10 and No. 1 change places. No. 1 
recites “ Does Santa have a Guide ?” 

6. No. 1, No. 10, and No. 7 march to the right 
in the small circle indicated in Star Number Five 
until in original places as in Star Number Four. 

7. Nos. 1, 3, and 2 march in like manner about 
No. 3’s point; 2, 4, and 8 march about No. 4’s 
point; 8, 5, and 9 march about No. 5*s point; 9, 
o, and 10 march about No. 6’s point. 

8. Repeat these small circles in order, going to 
the left. 

9. No. 7 and No. 8 change places. No. 8 re¬ 
cites “ Why Santa Claus is Wise.” 

10. No. 8 goes back to place. 

V. 

1. Repeat 1 under II., the same as 1 under III., 
the same as 1 under IV. 

2. All on points change places simultaneously 
with those at their right-hand corners, 


CHRISTMAS STARS. 


*35 


3. All now on points change places simulta¬ 
neously with those on their left corners. 

4. All now on points change places simulta¬ 
neously with those on their right corner. 





a 


STAR NUMBER FIVE 


5. Continue this alternating process until all are 
in the first positions as given in Star Number 
Four. 

This is the time for the concert recitation of 
J. G. Holland’s poem, those at corners reciting 
first stanza, those on points reciting second stanza; 
all recite the third stanza. 

Follow the concert recitation with closing chorus, 
“ Christmas Joy.” 


VI 


1. Trace star form with footsteps, the same as 
I under II, 1 under III, etc. 



FANCY DRILLS AND MARCHES. 


136 


2. Girls on points take for partners the girls at 
corners on their right hand, and march as in 2 



imerer IV. After marching around centre of star 
in the two concentric circles, march in couples all 
the way around the stage three times. 

3. The third time that centre of back is reached, 
let first couple march to the left, the second couple 
to the right, the third to the left, the fourth to the 
right, and the fifth directly down the middle of 
stage to the front, where they pause. Let marching 
couples continue march. The right-hand couples 
come down middle of stage, march across front to 
right side, down right side, across back, meeting 
left-hand couples at centre of back and marching to 
front again, four abreast. The left-hand couples do 
the same on left side. Repeat, coming four abreast 
three times. 

4. Then right-hand couples come to the right of 
the couple standing in front and the left-hand 
couples to the left, forming one long line across the 
front. 

5. Beat time a moment. 


CHRISTMAS STARS. 


137 


6. Five girls on the right of centre follow the 
girl on the right end; and five girls on the left of 
centre follow the girl on the left end. Marching 
around the stage three times, going in opposite di¬ 
rections and passing each other at the back. Exit. 

Song —“ Christmas Bells.” 

(Tune : “ Follow Me, Full of Glee,” in Best Primary Songs, pub¬ 

lished by E. L. Kellogg & Co.) 

Christmas bells ring again, 

Telling joyful news to men ; 

Christmas tales are retold, 

Christmas tales which ne'er grow old. 

Story of the Wise Men three, 

This we hear most willingly, 

How they had guiding far 
Such a brilliant star. 


Chorus i 

Gleaming cheerfully, cheerfully, cheerfully, 
Gleaming cheerfully, cheerfully, cheerfully, 
Shines for us, as for them, 

Light o’er Bethlehem. 

Christmas bells ring again, 

Love’s glad light has come to men ; 

We behold, streaming far, 

Bright reflections from that star ; 

And the rays so pure, so clear, 

Show right ways and help and cheer. 
Glows for us, as for them, 

Light o’er Bethlehem.— Chorus . 

Christmas bells ring again, 

“ Peace on earth, good will to men.’* 
Christmas times ! Happy times ! 

Hearts re-echo all the chimes. 

Season ’tis of joy and mirth, 

Gifts are speeding ’round the earth ; 

We rejoice in the light 

Born on Christmas night.— Chorus . 


FANCY DRILLS AND MARCHES. 


138 


Recitation —“ Insomuch/’ 

If light which for the Magi shone 
Had round our lives its glory thrown. 

If paths they trod to us were known, 

We too would seek the King. 

Like Magi bow, His right to own ; 

Like Magi, offerings bring. 

E’en should those rays shine bright and clear, 
Shine steadily from year to year, 

The Christmas King no more is here, 

He’s on His heavenly throne. 

Then where shall worshippers appear? 

Where shall their gifts be shown ? 

The one who longs this King to please 
Unto the Word He left us flees, 

And there in glowing letters sees, 

“ For insomuch as ye 
Have done it to the least of these 
Ye’ve done it unto Me.” 

Ah ! now we see that star stand still 
Where man is poor, where man is ill, 

Where man ’s in haunts which vices fill. 

Pause here, oh ! worshipper. 

’Tis here you may your treasures spill, 

Gold, frankincense, and myrrh. 

The radiant light o’er Bethlehem shed 
Hath sweetly, kindly onward led. 

Because that “ insomuch ” was said, 

We too may offerings bring ; 

The poorest birthday gifts may spread 
Before the Christmas King. 

Recitation —“A Talk with Stars at Christmas.” 

Sweet pretty lights like clear gems in a maze, 
Kind little sparks with five glittering rays, 

Tapers of skyland which glimmer and glow, 

Show me the path of the Star I would know. 


CHRISTMAS STARS. 




Far away lights that are glistening so, 

Did ye not sparkle long, long years ago, 

Have ye not shown from the ages afar? 

Then ye have gazed on that wonderful Star. 

Bright, happy lights, were your rays quite so glad 
Ere of star glory a vision ye had ? 

Did ye not catch from those radiant gleams 
Some of the splendor I see in your beams ? 

Beautiful lights, in the earth’s early years, 

Bards gave you voices called “ music of spheres.” 
Break the long silence, I list for the bars ; 

Sing to me now of the true Star of stars. 

Song —“Bright Christmas Carols.” 

(Tune : “ Twilight is Falling,” in Best Primary Songs.) 

Bright Christmas carols, joyously ring ; 
Children’s sweet voices gratefully sing,— 

Sing of the Christ-child, love’s gift to earth ; 
Sing of the wondrous birth. 

Chorus : Let sweet voices happy carols weave, 

Carols telling of that Christmas eve, 

When songs of angels fell on the ear, 

When Bethlehem’s Star drew near. 

Bright Christmas carols, list to the notes ! 

From hill and valley glad music floats ; 
Harmonies blending meet in the air ; 

Christmas is everywhere.— Chorus. 

Song —“Merry Christmas.” 

(Tune ! “ Good-night, Ladies,” in College Song-Book.) 

Merry Christmas, merry Christmas, merry Christmas, 
We see it coming near ! 

Brightest day of all the year, 

Full of love, full of cheer ; 

Joy and happiness are here, 

Gladsome smiles appear. 


140 


FANCY DRILLS AND MARCHES. 


Merry Christmas, merry Christmas, merry Christmas, 
We hear the sounds of glee ! 

Bundles which no eye must see, 

Many doors locked to me, 

Shelves all laden heavily, 

Laughter gay and free. 

Merry Christmas, merry Christmas, merry Christmas, 
Hear the greetings ring ! 

Happy thoughts are on the wing, 

Happy lays choirs sing, 

Happy faces children bring. 

Santa Claus is king. 

Recitation —“ The Brightest, Gladdest, Sweetest.* 

The sky is all full of bright twinklers, 

But none are so bright as that Star 
Which guided those wonderful wise men 
Who came on their camels so far. 

The earth is all full of glad music, 

But no song such gladness can keep 
As the song of the beautiful angels 

To men who were watching their sheep. 

The world is all full of sweet babies, 

But never a baby so sweet 
As the one which we find in a manger 
On the very first Christmas we meet. 

Recitation —“ Does Santa have a Guide ? ’* 

I wonder if strange light glows bright in the sky 
On each beautiful Christmas eve, 

Shines out to catch the St. Nicholas eye 
When he comes the presents to leave. 

I wonder if there is a star which stands still 
O’er chimneys in every town 

Where dwell the good children who bear no ill-will, 
To show him which ones to go down. 


CHRISTMAS STARS. 


I 4 r 


For dear Santa Claus hath much need of a guide. 

As he the whole world must go through 
To hunt out the places where children abide 
Who ’re trying the right things to do. 

Ah ! surely there must be strange light in the sky 
When reindeer are prancing around ; 

For it is reflected from each youthful eye 
At morn, when the presents are found. 


Recitatio71 —“Why Santa Claus is Wise." 

Whether he comes from the west or the east, 

Dear Santa’s a wise man, I know ; 

He visits the greatest, he visits the least, 

Yet always right gifts doth bestow. 

A dollie for Floy, and a jack-knife for Ted, 

Some books for the studious one, 

Skates for the skater, and here is a sled 
For him who on hills would have fun. 

But I know the secret which makes him so wise, 
Which helps him to squeeze through small space, 

Which lends a keen sharpness to both his kind eyes, 
And places him first in the race. 

It is because love light is glowing so bright 
Within the St. Nicholas heart, 

That his every action is fitting and right. 

Love gives him his magical art. 


Recitation —“There’s a Song in the Air.” 

( rom the complete poetical writings of J. G. Holland. Copyright, 

81, by Charles Scribners’ Sons.) 

There’s a song in the air! 

There’s a star in the sky ! 

There’s a mother’s deep prayer 
And a baby’s low cry ! 



142 


FANCY DRILLS AND MARCHES. 


And the star rains its fire while the beautiful sing, 

For the manger of Bethlehem cradles a King ! 

✓ 

In the light of that star 
Lie the ages impearled ; 

And the song from afar 
Has swept over the world. 

Every heart is aflame, and the beautiful sing 
In the homes of the nations that Jesus is King. 

We rejoice in the light 
And we echo the song 
That comes down through the night 
From the heavenly throng. 

Ay ! we shout to the lovely evangel they bring 
And we greet in His cradle our Saviour and King. 


Song —“Christmas Joy." 

(Tune: “Chime Again, Beautiful Bells,” in Franklin Square Song CoF 

lection No. 3). 

We’re reading poems with beautiful rhymes ! 

Music of Christmas, how sweet are thy chimes ! 
Season of Christmas, how glad is thy light! 

Faces at Christmas grow joyful and bright ; 

Joy pulls the ropes when the tower bells ring ; 

Joy writes the notes which the choir-boys sing; 

Joy runs with feet which are swifter than flight, 
Tidings at Christmas are full of delight. 

We’re reading poems with beautiful rhymes 1 
Christmas can show us the happiest times ; 

Gladness and beauty are hurrying by 
Giving delight to the ear and the eye. 

Joy painted pictures which hang in the mind; 

Joy holds hope’s taper with beams falling kind; 

Joy puts her seal upon messages bright, 

Tidings at Christmas are full of delight. 


PART II 


/nbotion Songs. 


Gladly May Our Song be Ringing. 

(Tuns t “ John Brown.” Th« actions ars to be sultsd to ths wor 4 s.) 

By Rose Sbelye Miller. 

Here we’re sitting in our places, 

Now we’re standing on our feet, 

Now we’ll turn ourselves around 
And make a circle quite complete; 

And we’ll clap our hands together. 

And we’ll lightly tap our feet, 

While we sing our motion song. 

Chorus {to be sung after each verse): 

Gladly may our song be ringing, 

Happy, happy voices singing; 

All our joy in song we’re bringing* 

As we sing our motion song. 

We have sat here in our place#, 

And we’ve studied in our book#, 

'Til you know that we are tired 
By our weary ways and looks ; 

So we’ll lay aside our lessons, 

With all their hooks and crooks, 

And sing our motion song. 

Now you see that we are rested, 

For we’ve moved ourselves about ; 

We have clapped our hands together, 

Now we’ll turn them in and out; 


14.3 



144 


MOTION SONGS. 


And we’ll join in song together 
Without a frown or pout, 

As we sing our motion song. 

Now we’ll turn us to our lessons. 
And we’ll gladly do our best; 
And we’ll study all the harder, 
Now we’ve had a little rest. 

You see it gives us courage 
And energy and zest 
To sing our motion song. 


Up and Down. 

By Lettie Sterling. 

(Tune — the same as that used by the children when they play f 
“ Take this ring and pass it over ; 

Pass it along till you find the owner. 

It is true, it is fair, 

It will wander everywhere.”) 

a. Double up fists and hold them as if grasping 
the handle of a bell, and act as if ringing the bell, 
i. Right hand rings. 2. Left hand rings. 3. Both 
ring. 

b. Hands are upon hips to make arms akimbo. 

1. Rise slowly upon tiptoes and stand upon them 
until 2. 2. Stand with feet firm on the floor, shoul¬ 

ders back and down. 

c. Fingers rest upon shoulders. I. Take three 
steps ahead with right foot, and let the fourth step 
bring it back to place. 2. Repeat I with left foot. 
3 Take one step ahead with right foot and bring it 
back to place. 4. Repeat 3 with left foot. 

d. With every line of the stanza make a half-cir¬ 
cle. 1. Move right foot over left and then swing it 
a long distance toward the right before bringing it 
back to place; that is, draw a half-circle with the 
toe of right foot. 2. Repeat with left foot. 3. Re¬ 
peat 1. 4. Repeat 2. 

e. This stanza explains its own motions. 



SING, SING, OH WHAT SHALL I SING* I 4 i 

f. I. Raise both hands high over head, and at the. 
word “ air ” close the fist to hold the imaginary air, 
2. Clasp hands together to form an arch over tin 
head. 3. Let them drop gracefully at the side 
(Let a bell be rung here by the teacher.) 

(a) Up and down our arms are swinging 
As if loud bells they were ringing. 8 

How they go to and fro 3 
All along this merry row! 

(b) On our tiptoes we are rising 1 
To a height that is surprising. 

Now we stand with each hand* 

On a hip, while chests expand. 

(e) Fingers rest upon the shoulders 1 
(Pretty sight for all beholders) 8 , 

With our feet, steps repeat 3 
Which are dainty, graceful, neat. 4 

(d) Right foot is a circle making, 1 

Left foot is the same course taking ;* 

Just once more, as before, 8 
We those circles will go o’er. 4 

(<r) “ No," and “ no,” our heads are shaking 
In a way there’s no mistaking; 

Now it’s “ yes ; ” we confess 
We don’t know and so we guess. 

(/) Overhead the air we’re grasping, 1 
Overhead our hands we’re clasping;* 

As they fall, sounds a call* 

Which means study for us all. 


Sing, Sing, Oh What Shall I Sing ? 

By Jennie Norton. 

(Air: “ The Whistling Coon.” Introduce foot and hand motions, and a bo* 
during the chorus.) 

Sing, sing, oh, what shall I sing? 

My little kitty sang a pretty tune. 



146 


MOTIQN SONGS. 


She opened wide her jaws 
And clapped her tiny paws; 

She did so well I gave her a gold spoon. 

Chorus (swig after each verse): 

Left, right, rest together now ; 

Raise your heels and clap your little hands, 
Turn, bow, all erect once more. 

Oh, how well each little scholar stands! 

Sing, sing, oh, what shall I sing ? 

I heard a gentle tapping at the door ; 

There stood a snowy pig, 

Who danced a funny jig, 

From half past seven until nearly four. 

Sing, sing, oh, what shall I sing ? 

I know one of the dearest little schools, 
Where all the children work, 

And never, never shirk ; 

And everybody minds the teacher’s rules. 


We’re Just as Happy. 

By Rose Seeley Miller. 

(Tune i M Little Brown Tug.” The motions to be made in accordance with the 
long. Theee need no explanation except, perhaps, in the third stanza, when the 
heads should be dropped, and the eyes rubbed as though crying.) 

We stand up straight upon our feet, 

We clasp our hands—see the fingers meet; 

We will tap our feet, we will clasp our hands. 

And do just what the song demands. 

Chorus : 

Tra, la la, don’t you see 

How happy in our school are we ? 

Tra la la, don’t you see 
We’re happy as the birdies be? 

Heads together, out-turned toes, 

Carefully we brush our clothes ; 

We clap our hands as we sing our song. 

We’re just as happy as the day is long. 



HANDS ARE CLASPED. 


*47 


Chorus . 


erect, heads all bowed ; 

What a sorry-looking crowd ! 

Raise the right hand, raise the left J 
Now you look as tho’ bereft. 


Chorus . 


You’re mistaken ; we’re not sad. 

I tell you that our hearts are glad; 

We clap our hands as we sing our song, 
We ’re just as happy as the day is long. 



Hands 


By Lettik Sterling. 

Cftng this to the tune of “ Jingle Bells.” The words explain the movements.) 


Hands are clasped and high ; 

Heads are moving slow ; 

Nodding, “ yes, yes, yes,” 

Shaking, “ no, no, no.” 

Now we let them turn 
First to left, then right; 

Looking over shoulders—so— 

To see a backward sight. 

Chorus ( sung after each verse ) : 
Clapping—one ! Clapping—two ! 
Clapping loud for three ; 

Motion, smiles, and happy words 
We use to show our glee. (. Repeat .) 

Forward, up, back, down— 

See the shoulders move ; 

That they like it well 
Cheerful faces prove. 

Right and left, and both 
Tourney in their turn, 

Till the path of forward, up, 

And back, and down they lean*. 

Right foot’s going out, 

Back with one, two, three; 

Left foot follows suit, 

Stepping gracefully. 



MOTION SONGS. 


148 




Easy as it seems, 

Hard it is to do, 

When we want the steps to bfc 
All quiet, firm, and true. 

While our arms we swing, 

Brains are gaining rest, 

So at study time t 

We may do our best. 

Knowledge seemeth vain 
In a body weak ; 

So to be both strong and wise 
Is what we pupils seek. 


Froebel’s Birthday. 

By Louise Pollock. 

(This may bo used as a marching song in the kindergarten. The music is 
Weber’s Hunters’ Chorus from “ FreischUtz”, and is printed in “ National Kinder 
fatten Songs and Plays.’ ) 

Oh, let us be joyful 
This happy anniversary ; 

Oh, let us endeavor to spend it pleasantly* 

Our friends are invited 
To join in our mirth ; 

This day Frederick Froebei 
Was born upon earth. 

Tra la la la, tra la la la, 

(.Repeat first four lines!) 

He gave little children 
His best love and thought ; 

He showed our dear teachers, 

How best we should be taught 
Tra la la la, etc. 

(Repeat first four lines.) 

O let us give honor 
To Froebei, with love. 

And, boys, our kindergarten 
He sees now from above. 

Tra la la la, etc. 



THE MILK-MEASURE SONG. 


*4$ 


{Repeat first four Unes.) 
Our voices uniting 
In pleasures of song, 

Our hearts in his praises, 

Glad echoes shall prolong, 

Tra la la la, etc. 


The Milk-Measure Song. 

By W. Price. 

(Tune: “Tolly Perkins.” The singer should wear sun-bonnet and big apron, 
»nd carry a large tin pail of milk and water and a gill measure. With the latter 
•he may suit action to word as she recites third and fourth lines of second verse, 
while a second child approaches with pint pitcher from opposite side of stage. At 
the close another child may approach with larger pitcher and ask for a quart of 
milk. “ A quart ? that is eight gills,” says the milkmaid, and counts them out.) 

I'm a little milkmaid, and I always try 

To be prompt at the houses where milk I supply; 

With my cups and my buckets so clean and so bright, 

I know I am daily a most welcome sight. 

Though I am very little, I’ll carefully fill 
Any order you leave, from gallon to gill; 

Four gills make a pint. Now watch me fill up 
Your pitcher with milk from this tiny cup. 

Two pints make a quart, and I certainly know 
Four quarts to a gallon must honestly go ; 

While talking this over I’m sure you’ll agree 
That good milk and good measure are given by me. 


Standing Straight Upon Our Feet. 

By Lettie Sterling. 

(Tune: “ Tramp, tramp, tramp.”) 

Standing straight upon our feet, 

Suiting words to music sweet, 

We let arms go up and down and out and in ; 

Though at first not well they move, 

Every day we will improve, 

Till a perfect ease and grace and time we win. 




Motion songs. 


m 


Chorus {sung after each verse): 

We are tapping with the left foot, 

Now we’re tapping with the right, 

After feet go tap, tap, tap, 

Hear the fingers gaily snap ; 

Don’t you think gymnastics are a jolly sight ? 

Hands we hold before our eyes, 

Slowly, slowly let them rise ; 

Hold them overhead while counting one, two three ; 
To the shoulders, to the hips, 

Back and forth go finger tips ; 

Every motion should be graceful, true and free. 

We are passing like the horse, 

Softly doing it, of course ; 

Now we’re lifting something heavy from the floor; 
Overhead just out of reach, 

Hangs a yellow, mellow peach, 

And to touch it we ne’er tried so hard before. 

Arms are folded now behind ; 

“ Fold in front,” the words they mind. 

“ Place a-kimbo,” that is down, then down they drop, 
They must do it as before— 

Back and front they go once more, 

But when they are made a-kimbo, they will stop. 


A Stormy Day. 

By Rose Seelye. 

(Tune t “ NelHo Bly,” This may ba sung sseted, whh finger movements o* 
the dssks.) 

Hear the rain, on the pane; 

Now it pours again, 

Down upon the dusty street, and on the busy 
Rain, rain, sweet rain, 

Rain so silver bright, 

Pouring down out in the street, 

While inside i$’s so light. 





SEE THE CHILDREN. 




Hear the sleet, on the street, 
How it beats again ! 

Hear the swiftly hurrying feet 
Of children and of men. 

Sleet, sleet, sharp sleet, 

Sleet so silver bright, 

Pouring down out in the street. 
While inside it’s so light. 

Sec the snow, soft and slow, 
Falling to the earth, 

Fair as any angel’s robe, 

Of sweet immortal birth. 

Snow, snow, pure snow, 

Snow so soft and white ; 

May our souls as spotless b# 

In our Saviour’s sight. 


See The Children. 

By Jennie D. Moore. 

/Sine this to the tune of “ Marching through Georgia.” If used for a march on 
e patriotic day 1<* <ach child carry a small flag and wave it in time.) 

See the children marching, marching nicely to and fro ; 
Keeping time like soldiers, marching back and forth we 
go; 

Up and down around the room, all in a pretty row, 
Nicely we march on together. 

Chorus {sung after each verse): 

Away ! away ! around the room we go ; 

Away ! away ! all in a pretty row, 

Up and down and out and in, passing to and fro, 

Nicely we march on together. 

All with face and hands so clean, all dressed so trim and 
neat; 

Hear the steady tramp, tramp, tramp, of little marching 
feet; 

While we sing our little song, with voices clear and 
sweet, 

Nicely we march on together. 



152 


MOTION SONGS. 


The Holidays. 

% 

By Louise Pollock. 

(Marching song for Arbor Day or Closing Day Exercises. The children march 
in carrying a bough in one hand and a straw hat in the other. The tune is 
“ Rory O’More.”) 

Away with all pencils, with slates and with books, 

Away to the forest, the fir-trees and brooks ; 

We have studied enough for such natures as ours, 

And now may be off to the birds and the flowers. 

Away through the meadows where green fields and 
brooks 

Will suit us much better than sages’ old books ; 

We wonder sometimes that our hair don’t turn gray, 
With the heat of our brains while they toil all the day. 

They tell us we one day must work for our bread, 

And “ brain power ” is needed in each little head ; 

But surely “no play makes Jack a dull boy ”— 

We will work all the better for one day of joy. 

We thank all our teachers with hearts full of glee, 

And feel like young squirrels, so glad and so free ; 

We wish them “ good morning,” and hope they will rest 
To their own heart’s contentment, as each one likes best. 


Christmas Stockings. 

By A. S. Webber. 

(Six small girls and boys are needed for speaking, and any even number of 
larger girls for singing. A boy leads each division of the march, immediately 
followed by those who speak. 

An equal number enter from opposite sides, as far back as possible, pass at the 
back, forward along sides, pass in front to sides, back half way, form two lines 
across front, having the six who speak in front (alternating boy and girl), the 
larger pupils just back of them. Sing as they enter and until placed, the chorus 
of “ Birdie’s Ball,” beginning with 14 Tra la la la la.” When in position, all sing 
the following two verses, air 4i Birdie's Ball.” When chorus is reached let them 
keep time by resting weight on right foot on first count, and at same time swing¬ 
ing left foot over right, touch toe to floor, dipping body slightly on third count 
foot back in place on first count of next measure. Rest weight on left foot, and 
swing right foot over left, touching right toe on third count, foot back in plaoe 
on first coun* of next measure, etc.) 



CHRISTMAS STOCKINGS. 


*53 


Santa Claus on Christmas eve 
Means to give a gift to all; 

Each a stocking we will hang, 

Stockings big and stockings smalL 

Chorus. —Tra la la la la la, etc. 

Santa Claus on Christmas eve 
Comes with reindeer swift as air ; 

Early all must be in bed, 

Leaving only stockings there. 

Chorus. —Tra la la la la la, etc. 

(A girl steps one step forward, bows and speaks, motioning the sice.) 

I mean to hang on Christmas eve, 

A stocking of this size, 

Because I want a doll so big, 

That sleeps and shuts its eyes ; 

To crowd it in my stocking small 
Would surely not be wise. 

(Pupil steps back in place and all sing the chorus, keeping time as befora.) 

td Pupil: 

My stocking is the one I’ll hang, 

I know ’twill hold quite well 

About a hundred marbles more 
Than’s owned by Tommy Bell; 

Of course I want some candy too, 

But the marbles are what tell. 

(Steps back and chorus is'repeated as before.) 

$d Pupil: 

I mean to beg a stocking small 
Of little sister Clare, 

Because I want some things so small 
They’ll scarce be found e’en there ; 

I want a ring that has a stone, 

And a pretty pin to wear. 

(Chorus repeated as before.) 

4/h Pupil: 

I’ve measured all the stockings 'round, 

And think I’ll hang up two, 

Because I want a pair of skates— 

One stocking will not do. 


154 


MOTION SONGS. 


Of course I want some sweets and things, 

To last the whole week through. 

Chorus. —Tra la la la la la, etc. 

5 th Pupil: 

My mamma’s stocking I will hang, 

’Twill so much better hold 
A tea-set for my dolly dear, 

All painted round with gold ; 

And dishes can’t be squeezed, you know— 
That’s what I’ve oft been told. 

Chorus. —Tra la la la la la, etc. 

6th Pupil : 

And I don’t know just what to do, 

Because I want, you see, 

A hobby horse—that is so high— 

Now tell me, can it be, 

Are stockings ever made so big 
That one can hold all of me ? 

Chorus .—Tra la la la la la, etc. 

All sing. —All we children love to hang 
Stockings o’er the fire-place. 

Wondering how our gifts can come 
Nice and clean from such a place. 

Chorus. —Tra la la la la la, etc. 

Santa Claus is loved by all 
Folks who are as big as we, 

And for long before he comes 
We can only sing for glee. 

Chorus. —Tra la la la la la, etc. 

I (When chorus Is partly sung, the leaders of the march lead to opposite sides,— 
others fall in line at once,—forward, pass in front, to rear along sides, pass at rear 
end to seats. Continue repeating chorus softer till all are gone.) 


Thanksgiving. 

By Lettie Sterling. 

(Tune “Tramp, Tramp, Tramp.'*) 

We are stepping with our feet, they are firm and strong 
and fleet ; 

Ought that not to make our hearts with joy o’erflow? 




MARCHING ON. 


155 


They will take us without fail up the hill or through the 
dale, 

Into all our paths of duty they will go. 

Chorus. 

Yes, yes, yes, to-day we’re thankful (nodding heads ), 

No, we’ll not ungrateful be (.shaking heads'), 

But we’ll use our limbs so strong for the work that comes 
along (swinging right foot), 

Walking in each way of duty we can see {swingmg left 
foot), _ 


Marching On. 

By J OHN FOX. 

(These words may be adapted to almost any two-four time with which the pu» 

g ils are familiar, or the teacher may use the music on page 36 of “ Beet Primary 
ongs,” published by E. L. Kellogg & Co. Flags should be carried and wavoC. 
while the last verse is sung.) 

Ready, ready, pass the word along, 

Sweetly, sweetly, sounds our marching song. 

Marching on, on, on, 

Marching on, on, on, 

Marching on, on, on, 

Marching on. 

Brightly, brightly, smiling every face, 

Lightly, lightly, be our marching pace. 

Marching on, on, on, etc. 

Proudly, proudly, like the soldier true, 

Moving, moving, flags red. white, and blue 

Marching on, on, on, etc. 



PART III. 


Hction pieces. 


The Little House. 

By M. D. Sterling. 

(A selected number of primary pupils may recite this with appropriate gestures.) 

1 know a house, a little house, {body) 

That taller grows each year ; {indicate growth) 

Two windows {eyes) has this little house, 

And two small doorways here, {ears) 

A front door has this little house {mouth) 

Tight shut, or open wide {close and open) 

To let you hear the little man {tongue) 

That moves about inside. 

Four servants {hands and feet) has this little house—• 
Two, {feet) all the errands run ; 

And two {hands) keep clean the little house, 

Take part in work or fun. 

One master has the little house {hands o?i breast) 

And he is called My Will ; 

He tells the servants {hands and feet) what to do, 

And speaks through this one, still {tongue). 

My Will can close the windows fast {shut eyes) 

On sights that are not good ; 

From these side doors {hands over ears) can shut away 
The evil sounds he should. 

My Will can keep this little man {tongue) 

From saying what is wrong ; 

Can drive away all foes of health 

When through this door {mouth) they’d throng, 

15$ 



EIGHT WHITE HORSES. 


157 


Oh, may this little house of mine, (body) 

That taller grows each day, (indicate growth ) 
Become the home of noble thoughts (point to head ) 
As pure as sunlight’s ray ! 

Within this house may e’er abide {hand on heart) 

A will both strong and true, 

To do the good to others that, 

To me, I’d have them do. 


Eight White Horses. 

By Clara J. Denton. 

(The kindergartner may teach the following movements to go with the word*. 
(«) Backs of hands together, fingers interlaced, thumbs close at sides of hands; 
let the children count the fingers. 

( 3 ) Thumbs upright and waving. 

(c) Move each finger in succession as the names are mentioned. 

(d) Move fingers swiftly. 

(e) At rest. 

(jr) Unlock fingers quickly and put tips of them together, with hands erect. 

(r) Bend fingers down quickly as if nibbling grass. 

(h) Make sound with tongue as if driving a horse, then throw out arms quickly.) 

Eight white horses in a stable, (a) 

Count them now, if you are able. 

Two little men who guard them well, {b) 

And all their names can quickly tell. 

Dapple and Lightfoot, and Poen and Fly, (e) 

Billy and Whitefoot, and Racer and Guy. 

See them now ; how fast they go, (d) 

Eight white horses in a row. 

Now they stand so very still, (e) 

Waiting for their master’s will. 

Open now the doors appear, (f) 

Fields so green are waiting near. 

Lone grass grows so fresh and sweet, (f) 

Freely there they soon will eat. 

No more standing in a row, (h) 

Click,—click,—off they go. 



ACTION PIECES. 


158 


The Evergreen Day. 

FOR A CHRISTMAS ENTERTAINMENT. 

By M. D. Sterling. 

(Seven boys and seven girls with good voices and some sprightlinees of manner 
are required. Each carries a wand to the upper end of which is fastened an ever¬ 
green wreath surrounding a large gilt letter. Ranged in order the letters will 
spell the words “ Merry Christmas.” The verse for each letter is sung to the 
air, “ Buy a Broom.” The children enter only one at a time, using a polka step, 
boys and girls alternately. While singing, they take steps and wave wand in time 
to the music. At third line of each stanza the boys bow and the girls make a 
courtesy, right and left. The chorus at the end of each verse is sung by the en¬ 
tire school. The boy with letter M comes in first, sings, and takes position on 
platform. He is followed by the girl with E. So continue until the lino of chil¬ 
dren is complete.) 

First Boy: 

M stands for merry—oh ! let us be merry; 

M stands for merry—right merry am I. 

( Bowing ) With a bow to the right, sir, and a bow to 

the left, sir, 

Come now and be merry—all sadness 
defy. 

C/torus by school (refrain of “ Buy a Broom ”).• 
Christmas dear now draws near ; 

With song and with evergreen welcome it here. 

First Girl: 

E stands for evergreen, beautiful evergreen; 

E stands for evergreen, never to fade. 

('Courtesy ing ) With a courtesy to right, sir, and a courtesy 

to left, sir, 

Bring evergreen garlands for Christmas 
made. * Chorus . 


Second Boy: 

R stands for rollicking—come, then, be rol* 
licking ; 

R stands for rollicking ; fun’s in the air! 
(Bowing) With a bow to the right, sir, and a bow to 

the left, sir, 

In Christmas-day rollicking take now a 
share. Chorus . 


THE EVERGREEN DAY. 


159 


Second Girl: 

R stands for rally—a grand Christmas rally ; 
R stands for rally where Christmas trees 
grow. 

((Courtesying) With a courtesy to right, sir, and a courtesy 

to left, sir, 

We will rally where Santa is likely to go. 

Chorus. 


Third Boy : 

Y stands for youthful; rejoice now, all 
youthful *, 

Y stands for youthful—quite youthful 
am I. 

(Bowing) With a bow to the right, sir, and a bow to 

the left, sir, 

The youthful make merry when Christ¬ 
mas is nigh. Chorus. 

i(L«av« a space in the line of children between the last letter of “ Merry ” and 
tha first of “ Christmas.”) 


Third Girl: 

C stands for Christmas—bright Christmas, 
merry Christmas ; 

C stands for Christmas, the best of the 
year. 

(Courtesying) With a courtesy to right, sir, and a courtesy 

to left, sir, 

Make merry at Christmas with good 
Christmas cheer. Chorus. 


Fourth Boy: 

H stands for happy—at Christmas be 
happy ! 

H stands for happy—right happy am I. 

C Bowing) With a bow to the right, sir, and a bow to 

the left, sir, 

If you would be happy, some Christmas 
gifts buy. 

Chorus . 


Fourth Girl: 

R stands for ready—for Christmas, be 
ready ; 

R 6tands for ready—are you ready yet ? 


x6o 


ACTION PIECES. 


( Courtesying) With a courtesy to right, sir, and a courtesy 

to left, sir, 

To make ready for Christmas, oh ! nevei 
forget. Chorus. 


Fifth Boy: 

I stands for icy—for winter so icy ; 

I stands for icy, when Kris drives along. 
(Bowing) With a bow to the right, sir, and a bow to 

the left, sir, 

Though icy the weather, we’ll give him 
a song. Chorus. 


Fifth Girl: 

S stands for Santa, the children’s own 
Santa ; 

S stands for Santa, the jolly old dear. 
(Courtesying) With a courtesy to right, sir, and a courtesy 

to left, sir, 

For Santa to fill, we hang stockings each 
year. Chorus. 


Sixth Boy: 

T stands for thoughtful—of all friends be 
thoughtful ; 

T stands for thoughtful—your presents 
prepare. 

(Bowing) With a bow to the right, sir, and a bow to 

the left, sir, 

And be thoughtful those poorer than you 
have a share. Chorus. 


Sixth Girl: 

M stands for magic—for Christmas night 
magic ; 

M stands for magic—filling stockings and 
trees. 

(Courtesying) With a courtesy to right, sir, and a courtesy 

to left, sir, 

Who does this fine magic, can any agree ? 

Chorus. 


THE EVERGREEN DAY. 


l&t 


Seventh Boy: 

A stands for all of us, old and young, all 
of us ; 

A stands for all of us looking for Kris. ' 

(Bowing) With a bow to the right, sir, and a bow to 

the left, sir, 

And all of us hope that not one he will 
miss. Chorus. 

Seventh Girl: 

S stands for smiling—on Christmas morn 
smiling ; 

S stands for smiling—all smiling I’ll be. „ 
(Courtesying) With a courtesy to right, sir, and a courtesy 

to left, sir, 

All smiling, yes, smiling, when presents 
I see. Chorus. 

/ 

(The following verses are to be sung by the school to the ah-, “ Wait for the 
Wagon.” During the singing of the first stanza and chorus, the fourteen boys 
and girls divide off into couples and march around, elevating and lowering the 
wands in time to music. During the second stanza they form two opposite lines 
with wands crossed overhead, couples marching under the arches formed, and back 
again to places. Third stanza, the opposite lines pass forward and back, cross to 
other side, partners passing each other, then back once more, and turn partners 
into place in a line forming “ Merry Christmas” again.) 

Oh, Christmas, merry Christmas ! 

Thy call we will obey, 

And carry fadeless garlands 
In honor of thy day. 

Chorus (to be sung after each verse): 

All hail, merry Christmas ! 

Hail, merry Christmas ! 

All hail, merry Christmas, 

The evergreen day ! 

Oh, Christmas, merry Christmas ! 

With laughter, song, and play 
How gayly pass the hours 
Of that dear happy day^ 

Oh, Christmas, merry Christmas! 

Quite old, but never gray ; 

Like thy own joys, unfading, 

The wreaths we bring to-day. 


ACTION PIECES. 


163 


Flowers and Bees. 

(A Kindergarten Finger Play.) 

By Clara J. Denton. 

Ten showy flowers (#) 

In a garden bed ; 

Purple, blue, and yellow, 

Pink and white and red. 

Ten honey-makers (6) 

Buzzing here and there, 

Sipping till the flowers (< d ) 

Yield their sweetness rare. 

Ten showy flowers ( e ) 

Waving in the light ; (/) 

Now they close their petals (g) 

Sleep the livelong night. 

Ten honey-makers ( b) 

Hear them buzzing so ; (f) 

Now the night is coming (A) 

In the hive they go. (i) 

(a) Hold up both hands with fingers outspread throughout this verse._ 

(t) Close the fingers and lay the thumb across the palm ; let the tips of the 
fingers touch the thumb. 

(<r) With fingers in same direction wave the hands about in a circle, and at 
close of line make the sound of a bee buzzing. 

(<0 Open the fingers and bend one after another as if touching the flower*. 

(#) Fingers outspread as in first verse. 

(y) Wave hands about. 

( g) Close hands tightly, 
ft) Softly. 

(*) Close hands suddenly. 

These verses may be sung to many of the familiar kindergarten tune*. 


Christmas Stories Told with Fingers. 

By Lettie Sterling. 

(These stories may be said and done in concert, or each little pupil may have a 
different story to tell.) 

Chimneys standing in a row, (a) 

Down each one will Santa go. 

He goes down one, comes back alive, 

And then tries two, (c) three, ( d) four (e) and five (/) 



CHRISTMAS STORIES TOLD WITH FINGERS. 




Santa has a wondrous pack, (g) 

This he carries on his back, yh) 

From it he takes candies, (/) drums, (j) 

Dolls, (k) books, (/) trumpets, (///) when he comet. 

Near the chimney stockings swing, 

What to them will Santa bring ? 

All of them I’m sure he’ll fill, 

Make them round and stiff and still. (#) 

Morning kisses curly heads 
Lying snugly in their beds. ( o) 

Oh how quickly they hop out, (/) 

Seizing stockings with a shout! 

On the hemlock and the pine, 

Light the candles, make them shine ; (?) 

String the rows of corn so white (r) 

'Mong the gifts and tinsels bright. 

Storemen’s windows all look gay 
’Cause it’s near to Christmas day ; ( s ) 

Fome and look in, girls and boys, (*) 

Get a peep at Christmas joys. 

In high towers out of sight, 

Great bells ring with all their might; (u) 

Hear one, then another chime, (v) 

Telling it is Christmas time. 

In the distance, (look afar, (w) ) 

With their eyes upon a star ; (x) 

Come on camels wise men three, oo 
They the Christmas king shall see. 

(a) Hands held straight up so tips of fingers point toward ceiling. S 
i>) Touch palm of hand with thumb, bring it back quickly. 
c y d, r,/.) Repeat b with ist, 2d, 3d and 4th finger. 

g) Double the hand up. 

h) Place the doubled-up hand on the back of the other. 

i) Lift thumb and hold it up. 

(j) Lift ist finger. ( k) Lift 2d finger. (/) Lift 3d finger, (tn) Lift ath finger. 
(») Hold hands in a listless way with tips of fingers pointing toward (ioor for 
f ro first lines, and let the fingers gently swing. Near the close of the verse make 
tile fingers still and rigid, and hold them close together. 

(<?) Have hands doubled up and held so that the child’s eyes can look down upon 
the palm of the hand, and see the nails of the four fingers (thumb out of sight.) 
(/) Let fingers fly up quickly. 

(g) Hold left hand as in a. Use the index finger of the right hand as a match, 
acratching it on the palm of the left hand, and lighting the tips of each finger as il 
the fingers were candles. 



164 


ACTION PIECES. 


(r) Make a circle of the thumb and index finger of the right hand, and slip it on 
and off each finger on the left hand. 

(x) Bunch fingers of left hand together so they can all touch the tip of ths 
thumb, and form an opening for the window. 

(/) Bring the fingers of the right hand near and let them be boys and girls peep, 
ing in. ... 

(«) Double up hands, but instead of having thumb inside, let it stand straight 
up to be a tower. 

( v ) Snap the fingers of one hand, then of the other. 

(«<) Point far away with index finger. 

(ar) Point toward an imaginary star. 
ij) Hold up the three middle fingers. 


Ten of Them. 

(A Kindergarten Finger Play.) 

By Clara J. Denton. 

a Ten rosy apples high up in a tree, 
b Safely there hidden where no one can see. 
c But when the wind comes rocking to and fro, 
d These rosy apples to the ground must go. 

a Ten little biidies perched upon a wall, 

Chirping and crying lest they get a fall, 
b Wishing and wishing for yonder tree so high, 
c Now, they spread their wings and away they fly. 

a Ten little froggies on the brooklet’s brim, 
b Wondering and wondering if they’d better swim, 
Watching the water shining in the sun, 
c “ Chug,” calls an old frog—in goes every one. 

(а) Hold up the hands, fingers spread out. 

( б ) Close hands suddenly. 

(c) Wave hands gently. 

(</) Drop hands at side suddenly. 

(a) Hold up the hands, fingers outspread. 

( b ) Point off right. 

( c) Spread out hands and make motions like the wings of a bird. 

(a) Same as foregoing. 

(£) Move the hands slowly back and forth, imitating the motion of the head 
when a person is considering. 

(c) Clap the hands together with a loud report, and then drop quickly at the 
tides. 


Physiology in Action. 

By Nellie F. Brown. 

(These exercises maybe taken sitting or standing. If sitting, the children should 
tit erect, with their feet on the floor squarely in front, hands on the edge of the 
desk, palms downward. If standing, the children should stand erect, hands at 
their sides, toes pointing outward. The standing position is to be preferred.) 




PHYSIOLOGY IN ACTION. 


i«5 


The teacher or an older pupil ..ays: The parts of 
the body are- 

77^ head: (Pupils clasp hands on the top of the 
head.) 

The arms : (They clasp each upper arm with op¬ 
posite hand.) 

The hands: (The hands are extended, palms up¬ 
ward.) 

(The trunk: (The hands are placed on the sides 
of the body.) 

The legs: (The palms of the hands are on upper 

leg.) 

The feet: (The body is bent forward so that the 
fingers may touch the feet.) 

The parts of the head are— 

The brain, with which we think : (Touch the top 
of the head with the forefinger of the right hand.) 
And the skull which covers it: (Clasp hands on the 
top of the head.) 

The eyes, with which we see: (Touch each eye 
with corresponding forefinger.) 

The ears, with which we hear: (Touch each ear 
with corresponding forefinger.) 

The nose, for smelling : (Touch nose with forefinger 
of right hand.) 

Mouth, teeth, and tongue, for eating and speaking : 
(Touch lips with forefinger of right hand.) 

The forehead : (Touch forehead with forefinger of 
right hand.) 

The temples : (Touch temples with corresponding 
forefinger.) 

The cheeks: (Touch cheeks with corresponding 
forefinger.) 

The chin: (Touch chin with forefinger of right 
hand.) 

There are thirty-two bones with each arm— 

The shoulder-blade : (Reach hands over the shoul¬ 
der to the shoulder-blade.) 

The collar-bone: (Hands on collar-bone.) The 
main bone of the upper arm: (Hand upon opposite 


x66 


ACTION PIECES. 


A 


upper arm.) Two bones in each forearm : (Hand 
upon opposite forearm.) Eight little bones in each 
wrist: (Left hand clasp right wrist.) Five bones in 
each hand: (Left hand around right hand.) And 
fourteen bones in fingers and thumb: (Left hand 
around fingers and thumb of right hand.) 

There are thirty bones in each leg— 

The thigh-bone, which is the longest and strongest 
bone in the body: (Hands on thighs.) The knee- 
pan, which covers and protects the knee: (Hands 
on knees.) Two bones below the knee: (Hands 
touch lower leg.) 

Seven ankle-bones: (Touch ankles.) 

Nineteen bones in the foot and toes: (Bend forward 
and touch feet with hands.) 

My backbone or spine holds me firm and erect : 
(Touch backbone with right hand.) 

Or, gracefully bending, my movements controls. 
(Bend the body forward.) 

Twelve ribs on each side : (Hands upon sides.; 

Lungs, heart, stomach protect. (Hand on each 
in turn.) 

While my Jiip-bo7ies give firmness and strength to 
my whole : (Hands on hips, arms akimbo.) 

I can place my hand here and feel my heart beat. 
(Place right hand on heart.) 

Sending life-giving blood to my every part 
—(Hands move over body from head downward.) 

From the crown of my head to the soles of my 
feet; (Hands on top of head; then touch feet.) 

And bringing impurities back to my heart. 
(Hand again on heart.) 

Thence ’tis sent to my lungs to be purified (Hands 
on the chest.) then. 

Back to my heart and sent onward again, (Hand on 
the heart.) 

To nourish body, build up and repair— 

And this is the reason we need the pure air. 

Pupils repeat together , 


PHYSIOLOGY IN ACTION. 


I67 


My nerves, like sensitive monitors, keep 

Guard, to give warning when danger is near; 

Some watch while I wake and some when I sleep. 

All faithfully tending to shield me from fear. 

My fat and my muscles give beauty and grace 
To what, otherwise, most unsightly would prove ; 
Cords, ligaments, tendons, hold all in their place ; 

And by their contractions they help me to move. 

All over our bodies, elastic and tight, (Move hands 
over body) 

The skin, like a well-fitting garment is seen. (Pinch 
up a bit of skin on the hand.) 

So warm and so moist, so ruddy, so white ; 

To keep it in health, we must always keep clean. 

These bodies of ours, so perfect, complete, 

Should be kept clean and healthy, without and within. 
Fitted thus for God’s use, for His glory made meet, 

With souls pure and holy, and free from all sin. 

From narcotics, tobacco, and alcohol free, 

We’ll exercise daily, breathe only pure air; 

Live plainly, sleep sweetly, and then we will see, 

HI health ha* no terrors, old age brings no fe*’’ 



ACTION PIECES. 


*58 


Nature Song. 


THE MAPLE AND THE PINE. 



Directions. —Two girls may personate the Maple and the 
Pine; each will wear a wreath, one of bright maple leaves, the 
other of small pine branches; each will have a skirt (cheese¬ 
cloth) to which small branches have been sewn; also a wide 
band of the same from left shoulder to the waist; each will 
have a branch in her hand. They enter and ascend the 
stage from opposite sides. The piano will play, or a chorus 
of pupils in a low tone may hum the tune so each can easily 
catch it; then between each stanza they may hum a line of the 
music. As the actors pass from the stage, the chorus sings the 
last stanza. 


The Maple (bowing).— 

Glad to see you, Mistress Pine, 
Don’t you want a dress like mine 
Turning into gorgeous tints 
In September, in September ? 







































NATURE SONG. 


169 


The Pine (curtsying).— 

Yes, indeed, the somber Pine 
Owns your dress is very fine 
In this month. But how is it 
In December, in December ? 

I’m contented to be seen 
In this modest dress of green, 

And to change it I don’t see 
Any reason, any reason. 

Now, dear Maple, my green clothes, 
Look so well in winter’s snows, 
They’re in fashion, all the year, 

All the seasons, all the seasons. 

The Maple (curtsying).— 

You speak truly, Mistress Pine, 

Yet I love to be dress’d fine; 

And for red and yellow tints 
I’ve a passion, I’ve a passion. 

When the Oaks and Beeches change 
Then green dresses look so strange; 
Then they seem to me to be 
Out of fashion, out of fashion. 

Both (curtsying).— 

We’ll agree then still to wear 
What makes each of us quite fair; 
Both of us are much admired 
With good reason, with good reason. 


170 


ACTION PIECES 


* 


Chorus .—Every tree that we can see 
Has a charm for you and me; 
What its color matters not, 

Or its season, or its season. 

Bow to audience and retire. 


r< 


I 


! 


\ 


THE WINDS. 


tji 


The Winds. 

AN OPERETTA FOR TEN OR TWELVE PUPILS. 

Directions. —Let four pupils who are good soloists stand on 
the platform at one end; at the other four, six, or eight pupils 
who will compose the chorus. One of the first group will sing 
the first line; the chorus will reply in the next three lines. 
Then another of the first group will sing the first line of the 
second stanza and the chorus make reply. In a similar way 
the other stanzas will be sung. 




Jt o 

4 § 

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Which is the wind that brings the cold, The North wind, 



tJ 


Fred, and all the snow, The sheep will scam per 



the fold, When North winds sharp begins to blow. 


Which is the wind that brings the cold ? 

The north wind, Fred, and all the snow; 
The sheep will scamper in the fold 

When north winds sharp begin to blow. 

Which is the wind that brings the heat ? 

The south wind, Kate, and corn will grow, 
The peach will redden ripe to eat 

When south winds soft begin to blow. 


















































172 


ACTION PIECES. 


Which is the wind that brings the rain ? 

The east wind, Rob, and farmers know 
The cows come shiv’ring up the lane 
When east winds harsh begin to blow. 

Which is the wind that brings the flowers ? 

The west wind, Bess, and soft and low 
The birds sing in the summer bowers 
When west winds mild begin to blow. 







* 


% t 


i 


THE TREE IN THE FIELD. 


173 


The Tree in the Field, 

AN OPERETTA FOR TWELVE GIRLS, OR FOR SIX 

GIRLS AND SIX BOYS. 

Suggestions. —Two will be selected to sing the solos, and 
either on the back part of the stage behind the soloists, or at 
one side, the chorus will be placed. The soloists will stand 
six or more feet apart. They will bow or curtsy to the 
audience; the music will be played through once (or one 
strain); if there is no instrument, the music can be hummed 
by th& chorus so as to be easily taken up by the soloists. 


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One soloist turns to the other and asks (sings) the 
question: 

What is there in the field ? 

The other soloist answers (sings ): 

A very pretty tree. 

The chorus now comes in promptly: 

A tree in the field, 

The beautiful, beautiful field. 

The first soloist turns again to the other and asks: 
What is there on the tree ? 

























































m 


ACTION PIECES. 


The second soloist answers: 

A very pretty branch. 

The choru9 now comes in promptly: 

A branch on the tree, 

The tree in the field, 

The beautiful, beautiful field. 

The first soloist asks: 

What is there on that branch ? 

The second replies: 

A very pretty bough. 

The chorus sings: 

A bough on the branch, 

The branch on the tree, 

The tree in the field, 

The beautiful, beautiful field. 

The first soloist asks: 

What is there on that bough ? 

The second replies: 

A very pretty nest. 

The chorus: 

A nest on the bough, 

The bough on the branch, 

The branch on the tree, 

The tree in the field, 

The beautiful, beautiful field. 

The first soloist asks: 

What is there in the nest ? 

The second replies: 

A very pretty egg. 



THE TREE IN THE FIELD. 


175 


The chorus: 

An egg in the nest, 

The nest on the bough, 

The bough on the branch, 
The branch on the tree, 

The tree in the field, 

The beautiful, beautiful field. 

The first asks: 

What is there in the egg ? 

The second replies: 

A very pretty bird. 

The chorus: 

A bird in the egg, 

An egg in the nest, 

The nest on the bough 
The bough on the branch 
The branch on the tree, 

The tree in the field, 

The beautiful, beautiful field. 


The soloists bow or curtsy and leave, followed by chonjs. 


176 


The Diminishing Class. 

AN OPERATIC DIALOG FOR TWELVE GIRLS. 

Directions. —Twelve little girls will pass to the stage, all 
dressed as much alike as possible. Some odd head-dress, 
made of cheese-cloth or even paper will add to the effect. 
They begin and sing lines i and 2, and then one pupil steps 
out a foot beyond the line of the class and says line 3, then 
bows and steps back out of the line, which closes up. The 
head girl looks down the line and says line 4. Then they all 
sing it, looking surprised. 

After a short pause they sing lines 5 and 6. holding out the 
dolls. Then a pupil steps out and speaks line 7; she shows 
where it is broken, she bows and retires from the stage. The 
rest look surprised and the girl at the foot of the class says 
line 8; then they all sing it. 

In a similar way all the other stanzas are sung and spoken. 
There must be as much acting as possible; this will take away 
the stiffness that otherwise tends to creep in. The one best 
able to act is reserved for the last. Each one as she goes 
makes a bow or curtsy to the audience; the last pupil makes 
a more profound one than the rest. 



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See these twelve little school girls With gloves for only seven, 

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I’m so tired, I’ll take my seat, Why now there’s only eleven. 


1. See these twelve little schoolgirls 

2. With gloves for only seven. 

3. ( spoken ) I’m so tired I’ll take my seat; 

4. Why, now there’s only clever 



































THE DIMINISHING CLASS. 

3». See these eleven little schoolgirls 

6. With dolls to play again. 

7. ( spoken ) Mine is broke and I’ll depart; 

8. Why, now we are only ten. 

9. See these ten little schoolgirls 

10. All standing in a line. 

11. (spoken) I don’t like it here at all; 

12. Why, now there are only nine. 

13. See these nine little schoolgirls, 

14. One only has no mate. 

15. (spoken) I’ll go home and get my lunch; 

16. Why, now there are only eight. 


17. See us eight little schoolgirls, 

18. When once there were eleven. 

19. (spoken) You may stay but I will go; 

20. Why, see there are only seven. 

21. See us six little schoolgirls; 

22. For pleasure let’s contrive. 

23. (spoken) I will go and get a book; 

24. Why, see we are only five. 

25. See these five little schoolgirls; 

26. We wish there were some more 

27. (spoken) I will go and bring some here; 

28. Why, now we are only four. 

29. See these four little school girls; 

30. We’re good as girls can be. 

31. Cspoken) I’ve got errands now to do; 

32. Why, that leaves us but three. 


X78 

53 

34 

35 

36 

37 

33 

39 

40 

4i 

42 

43 


ACTION PIECES. 


See these three little schoolgirls; 
What can we find to do ? 

( spoken ) I shall go and play at home; 
Why, that leaves us. but two. 

See us two little schoolgirls; 

Our work’s completely done. 

( spoken ) Then I’m going home, good-by; 
Why, now there’s only one. 

See this one little schoolgirl, 
Who’d like to have some fun. 
\spoken ) Yes, indeed, and so I’ll go, 

And then there will be none. 



THE SEASONS. 


179 


The Seasons* 

AN OPERETTA FOR FIVE GIRLS. 

Five girls ascend the platform. 

No. I. (Holding up a ribbon) Is not that pretty? 
I have just bought it. 

No. 2. Yes, and what do you say to that ? (Shows 
flower—rose, if possible.) 

Nos. 3 and 4. Beautiful; it surpasses the ribbon. 

No. 5. Who can tell why? 

Nos. I, 2, 3. I can—it is a product of nature. 

No. 2. Yes, Miss-(a teacher) says “ Nature 

is in every charm supreme.’’ 

No. 3. But you know we are to learn about the 
seasons. It is time to choose subjects and learn our 
stanzas. 

No. 4. Let us find something we can sing. 

No. 5. Why there are five of us, and there are 
only four seasons. 

No. 1. Well one can sum up what the rest say. 

No. 3. I’ll tell you what, girls; here are five slips 
I’ve marked Winter, Spring, Summer, Autumn, 
Sum Up. I will put them in this box and shake 
them up, and then each will draw. 

No. I. Mine is Winter. 

No. 2. Mine is Spring, 



ACTION PIECES. 


280 


No. 3. Mine is Summer. 

No. 4. Mine is Autumn. 

No. 5. Mine is the Sum Up. 

No. 1. We can find something at once, I’m sure. 
(They take their books and walk about and seem to 
be learning something; after a pause) Now, well I 
am ready. 

Nos. 2, 3, 4, 5. So am I. 

They arrange in a line and bow slightly to the audience. 
Each one when she sings steps a foot forward, and when 
finished steps back again. All can sing each stanza if each is 
not a good soloist. 


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I love the spring where slumbering buds Are wakened into birth, 





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When joy and gladness seem to run So free-ly o’er the earth. 

I love the spring, when slumbering buds 
Are wakened into birth; 

When joy and gladness seem to run 
So freely o’er the earth. 


I love the summer, when the flowers 
Look beautiful and bright; 

When I can spend the leisure hours 
With hoop and ball and kite. 

I love the autumn, for the trees 
With fruit are bending low; 

Then I can reach the luscious plums 
That hang upon the bough. 























































THE SEASONS. 


1 love to have the winter come, 
When I can skate and slide; 

And hear the noise of merry sleighs, 
That swiftly by me glide. 

I love the seasons in their round; 

Each has delight for me. 

Wisdom and love in all are found; 
God’s hand in each I see. 

They curtsy together and retire. 


ACTION PIECES, 


ftSt 


The Gossips* 

AN OPERETTA FOR FIVE GIRLS. 

Directions.—T he girls who take the parts in this operetta 
should be good singers, if possible; if not, some one behind a 
screen on the stage may do the singing, and they do the act¬ 
ing, as is often done in theatres. Some one then will sing the 
alto. The meeting of the actors on the stage must be acted 
in a natural and easy way, as though it were unexpected. They 
will wear hats and street dresses and have shopping bags. 


Scene I. 


Two girls ascend the platform from opposite sides; they 
meet and recognize each other and pantomime greetings. The 
music should begin to play softly as they ascend. 



Good morn - ing, Miss - es Pry, I’m bound for 


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shopping in the town, Of course you’ve heard of 



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those fine goods, Goods got by Smith and Brown, Why 



no l why yes l Goods got by Smith and Brown. 




























































THE GOSSIPS. 


183 


f 

No. 1 (sings): 

Good morning, Mrs. Pry, I’m bound 
For shopping in the town. 

Of course you’ve heard of those fine goods—. 
Goods got by Smith and Brown ? 

No. 2 (pantomiming great surprise,.sings): 

Why no. 

(No. 1 nodding significantly, sings :) 

Why yes. 

Both (facing the audience and nodding and 
smiling significantly, sing): 

Goods got by Smith and Brown. 

They bow and pass behind the screen which represents the 
town. No. 1 leaves the stage. No. 2 remains ready to come 
out and meet No. 3 when she ascends the stage; she will then 
have a paper parcel. 


Scene II. 

No. 3 now ascends the stage and meets No. 2 coming from 
(the screen) the town, supposedly. They bow and greet each 
other pleasantly in pantomime. 

No. 2 (sings): 

Good morning, Mrs. Spy-them-out, 

Just see this lovely gown. 

(Opens parcel slightly and shows goods.) 

’Twas said to me by one that knows, 

Smith got his goods from Brown. 

No. 3 (pantomiming surprise, sings): 

From Brown ? 

No. 2 (nodding the head significantly, sings): 
From Brown. 


184 


ACTION PIECES. 


Beth (facing the audience and shaking the head 
significantly, sing): 

Smith got his goods from Brown. 

They bow and pass behind the screen. No. 2 disappears 
from the stage and leaves No. 3 to be ready to meet No. 4. 


Scene III. 

No. 4 now ascends the stage and meets No. 3 coming from 
the screen (the town, supposedly). They recognize each other 
in pantomime, bowing, etc. 

No. 3 (sings): 

Good morning, Mrs. Know-it-all, 

I’ve just returned from town. 

I’ve heard strange news, what do you think ? 
Smith took his goods from Brown. 

No. 4 (pantomiming surprise, sings): 

From Brown ? 

No. 3 (nodding significantly and gesturing, sings): 

From Brown. 

Both (they cast their eyes upward, look astonished 
and indignant, and sing): 

Smith took his goods from Brown. 

They nod their heads and pass behind the screen. No. 3 
disappears quietly from the stage; No. 4 waits to meet No. 5. 


Scene IV. 

No. 5 now ascends the stage, is met by No. 4 coming from 
the screen (the town, supposedly); they recognize each other 
in pantomime ; No. 4 is very much excited. 

No. 4 (sings): 

Good morning, Mrs. Tell-it-all, 

Of course I am cast down. 


THE GOSSIPS. 


185 


I’ve really shocking news to tell, 

Smith—stole—his goods from Brown. 

No. 5 (looking astonished, sings): 

What, stole ? 

No. 4 (shaking head and many gestures, sings): 
Yes, stole. 

Both (they shake their heads sadly, and sing): 
Smith stole his goods from Brown. 

They bow and pass behind the screen. No. 4 disappears 
and No. 5 waits until No. 6 approaches. 


Scene V. 

No. 6 now ascends the stage and is met by No. 5 coming 
from the screen (the town, supposedly); they recognize each 
other and No. 5. wrings her hands and is quite in despair. 

No. 5 (sings tremulously): 

Good morning, Mrs. Spread-the-news, 

I cannot help but frown. 

I’ve just been told a painful thing, 

Smith has been robbing Brown. 

No. 6 (clasping hands above the head, sings 
small notes): 

What, robbing ? 

No. 5 (clasping hands above the head, sings 
small notes): 

Yes, robbing! 

Both (they throw their hands down together and 
sing): 

Smith has been robbing Brown. 

While singing they nod their heads, smite their hands and 
rock themselves from side to side and cast glances at each 
other. 


ACTION PIECES, 


186 


(Then they clasp their hands and, after a pause, 
sing :) 

Alas, alas, this sinful world 

There’ll be a flood to drown! — 

Who would believe that Mr. Smith 
Had goods purloined from Brown ? 

After a short pause they curtsy and leave the stage* 


\ 


! 


I 


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